News from the World of Photography: July 2019

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Flavio da Silva, photographed as a boy in Brazil’s favelas, on the images that outraged


The Los Angeles Times

Gordon Parks’ 1961 images of favela dweller Flávio da Silva for Life magazine, on display at a current Getty exhibit, sparked a media spat between Brazil and the U.S. Da Silva tells The Times what the series meant to him...

Paris Photo, AIPAD to Launch New York Fair


ArtNews

The Photography Show, an art fair that has been presented annually by the Association of International Photography Art Dealers (AIPAD) since 1979, is being replaced by a new event to be staged jointly with the French fair Paris Photo. Titled Paris Photo New York, Presented with AIPAD, it will be overseen by Florence Bourgeois and Christoph Wiesner, the director and artistic director of Paris Photo, respectively. The first edition of Paris Photo New York is slated to be held at Pier 94, the home of AIPAD in recent years, from April 2 to 5, 2020.

“We’ve been having serious discussions with Paris Photo for over a year about their desire to become part of the New York market, and they realized AIPAD would be a great ally—that they could build on the 40-year history of AIPAD doing shows in New York,” Richard Moore, the president of AIPAD, told ARTnews. “We know we’re in good hands.”...

ANTHONY HERNANDEZ


La Biennale Di Venezia 
Venice, Italy
Until 5 October 2019

 
The photographic work of Anthony Hernandez is hard and unsentimental. For the past three decades a prevalent question has troubled the photographer: how to picture the contemporary ruins of the city and the harsh impact of urban life on its less advantaged citizens? Hernandez has approached this question by focusing on what the photographer Lewis Baltz has called “the landscapes of the defeated” – homeless camps, unemployment offices, auto-wrecking yards, bus shelters, and other neglected spaces found at the outskirts of the city. Neither romantic nor nostalgic, Hernandez’s work has detailed the sites and spaces where capitalism’s promise of happiness has soured.

Passings

This year the Photographic Arts Council community lost two important and valued members with the deaths of Norman Hollyn and Stephen Verona. Both were active supporters of PAC and brought an enthusiastic interest in photography to gallery and museum visits as well as conversations with fellow members. We are deeply saddened by their passings and extend our heartfelt condolences to Norm’s wife Janet and Stephen’s wife Ann.

Please see the following announcements:

Norman Hollyn, USC professor, film editor who worked on ‘Sophie’s Choice,’ dies at 66

‘Lords of Flatbush’ writer, director and producer Stephen Verona dead at 78

 

Arles 2019: 50 years, 50 books. Masterpieces from the Martin Parr Library


The Eye of Photography
 
This exhibition is dedicated to the collection of photographic works collected by Martin Parr. The photographer, a fervent defender of books, constituted a rich library of more than 12,000 books. Reflecting his particular vision, this colossal collection brings together books of great diversity  collected around the world.

Collaborative project between Les Rencontres, LUMA and Tate Modern, this project highlights 50 works published between 1969 and 2018. The selection reveals a rich panel of artists who have marked photography in many ways. Whether form or content, this sselection shows photography in its multidisciplinarity: humanist photographers, conceptual, photojournalists, but also visual artists and fashion photographers etc.

Mécanique Générale
July 1 – September 22
www.rencontres-arles.com

Make Believe


Museum of Fine Arts Boston
Boston, MA
20 July 2019 - 20 January 2020

 
Make Believe presents an enchanted realm where sleeping figures float, women weave spiderwebs, magicians cause children to disappear, and homemade dirigibles fly over icebergs. The exhibition brings together five artists who stage fantastical scenes for the camera to address a wide range of social and cultural issues, including the role of women in the Middle East, climate change, the passage from childhood to adolescence, and existential fears of loneliness and loss.

Shadi Ghadirian (Iranian, b. 1974) and Hellen van Meene (Dutch, b. 1972) draw on folk and fairy tales to interrogate real-world concerns of being and becoming. Ghadirian questions preconceived ideas about female identity and agency in the Muslim world through works like Miss Butterfly, a series of black-and-white photographs based on an early Persian folk tale. Van Meene focuses on adolescent girls on the cusp of adulthood, seeking to capture the rich interior lives of her sitters while also suggesting the anxiety and confusion commonly experienced during teenage years. Inspired by works such as Rapunzel by the Brothers Grimm, The Princess and the Pea by Hans Christian Andersen, and Alice’s Adventures in Wonderland by Lewis Carroll, she often poses her subjects in Vermeer-like natural light, as in Untitled #465 (2014), pictured above.

Other artists invent elaborate stories and sometimes entire worlds. In the series Short Stories, Paolo Ventura (Italian, b. 1968) employs the narrative framework of children’s picture books and stands in as the protagonist, with his young son in a supporting role. Nicholas Kahn (American, b. 1964) and Richard Selesnick (British, b. 1964) have been collaborators for more than three decades, creating extravagant costume dramas, concocting detailed quasi-historical sagas, and fabricating elaborate props for their cinematic visions. Their series Eisbergfreistadt (Iceberg Free State), inspired by concerns surrounding climate change, strikes a delicate balance between a fictional narrative and a seemingly “straight” style of documentary photography.

Poetics of the Everyday: Amateur Photography, 1890–1970

Saint Louis Art Museum 
Saint Louis, MO
26 April - 25 August 2019


The 110 prints on view in Poetics of the Everyday: Amateur Photography, 1890–1970 were taken during an extraordinary period of time, primarily the first half of the 20th century, when portable cameras became affordable and available to millions of enthusiastic new amateur photographers. The makers of the prints in the exhibition are generally anonymous; in fact, most did not consider themselves to be artists. And yet, their work demonstrates the remarkable aesthetic heights that were achieved in this democratic medium through intention, experimentation, or accident.

Poetics of the Everyday celebrates the recent gift of 150 amateur photographs from St. Louis collectors John and Teenuh Foster. Trained as a visual artist, John Foster assembled this collection of anonymous found images over the past 20 years. The selection of photographic prints in the exhibition embrace lightheartedness in everyday life, and even capture oddities revealed in often-overlooked moments. While small in scale, they are tantalizingly rich in detail and many are complex in composition, immersing the viewer in their small worlds.

This exhibition tells part of a larger story about the history of photography by revealing the restless inventiveness with which amateurs photographers began to use the camera, expanding the boundaries of creative expression in ways worthy of our attention. How they used the camera and how they saw the world around them has become a vibrant area of focus for collectors, researchers, and museums alike in the 21st century.

Mexican Photographers, Mexican Views


Phoenix Art Museum
Phoenix, AZ
1 December 2018 - 22 September 2019

Mexican Photographers, Mexican Views features more than 60 photographs created solely by Mexican artists that offer an intimate view into 20th-century Mexico and the country’s shifting national identity.

The exhibition, with works drawn exclusively from the collection of the Center for Creative Photography in Tucson, showcases a range of photographic techniques used in 20th-century Mexican photography and includes pastoral landscapes, portraits of indigenous peoples, and images of everyday rural life. Featured photographers include Hugo Brehme (1882–1954), Lola Álvarez Bravo (1903–1993), and Manuel Álvarez Bravo (1902–2002), among others. 

Unlimited: Recent Gifts from the William Goodman and Victoria Belco Photography Collection


Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Berkeley, CA
27 March - 1 September 2019


This exhibition celebrates a major gift of photography, donated over a period of several years, from Berkeley collectors William Goodman and Victoria Belco in memory of their daughter Teresa Goodman. While the exhibition features some historical photographs, such as pictures by the early twentieth-century French photographer Jacques-Henri Lartigue (most of whose work was made between the ages of eight and eighteen) and the stunning modernist pictures of the English photographer Bill Brandt, it is especially strong in contemporary work, including images by many living masters such as Robert Adams, Lee Friedlander, William Klein, and Robert Frank.

The Bay Area has provided particularly fertile ground for photography collectors, with a number of exceptional local galleries as well as many world-class photographers who make their homes here. The Goodman Belco collection includes works by many such local artists. Those of an earlier generation, such as John Gutmann, Robert Hartman, and Richard Gordon, are now deceased, while younger photographers, such as Sean McFarland, Janet Delaney, McNair Evans, and Catherine Wagner, are actively working members of our community, and have growing national and international reputations. The collection’s scope also extends to contemporary photography from China, Japan, Russia, Western Europe, and Eastern Europe, featuring works by the Japanese photographers Daidō Moriyama and Miyako Ishiuchi, Russians such as Alexey Titarenko, and others. The collection is also strong in both documentary photography and more experimental work, including images by William Larsen, Marco Breuer, and Steve Kahn.


Brattleboro Museum & Art Center
Brattleboro, VT
22 June - 23 September 2019

Born in Boston in 1932, David Plowden spent over six decades photographing America’s disappearing landscapes and the vestiges of its industrial heyday — steel mills, locomotives, bridges, skyscrapers, small towns. He has, in his own words, “made a career of being one step ahead of the wrecking ball.”...

Much of Plowden’s work has been done in the service of the 29 books he has authored or co-authored. The photographs in this exhibit represent a small fraction of those in Bridges: The Spans of North America, a visually magnificent history of American bridge design and construction, which McCullough has described as “a work of imagination and scholarship that would qualify [Plowden] as someone of note had he done nothing else.”

Bridges intrigue and entrance us on so many levels. They extend our worlds by spanning voids or obstacles and connecting us to otherwise unreachable destinations. They do so in seeming defiance of the laws of gravity, creating magical, liminal spaces, where we find ourselves no longer here, not yet there, but suddenly — thrillingly — aloft. The best of them embody a perfect blend of engineering and aesthetics, function and form. In character, they span the gamut from elegant to businesslike, delicate to muscular, commonplace to quirky.

Through his rigorously formal, deeply respectful, yet unsentimental photographs, Plowden reveals the magic, beauty, and personality of his silent subjects. And although his pictures are nearly devoid of human presence, they are powerful tributes to the ingenuity, craftsmanship, and pride of the people who designed and built these bridges.

What the Whitney Biennial Tells Us About the Future of Photography—and the Artists Who Will Shape It

Artnet News

I went to the 2019 Whitney Biennial with a brief to consider the photography in the exhibition and left thinking about the power of affiliation. The curators have said they thought a lot about who is an American, and put together a biennial that maps more closely the nation’s shifting demographics than previous editions. A new mainstream is being forged in America, and if you had any doubt about what it might look like, this is it. In short, this is photography by the new majority...

Apollo's Muse: The Moon in the Age of Photography


The Metropolitan Museum of Art
New York, NY
3 July - 22 September 2019


On July 20, 1969, half a billion viewers around the world watched as the first images of American astronauts on the moon were beamed back to the earth. The result of decades of technical innovation, this thrilling moment in the history of images radically expanded the limits of human vision.

Celebrating the fiftieth anniversary of the Apollo 11 moon landing, Apollo's Muse: The Moon in the Age of Photography surveys visual representations of the moon from the dawn of photography through the present. In addition to photographs, the show features a selection of related drawings, prints, paintings, films, astronomical instruments, and cameras used by Apollo astronauts.

Among Others: Photography and the Group


The Morgan Library & Museum
New York, NY
31 May - 18 August 2019


Composed chiefly of works in the Morgan’s collection, this exhibition explores how photographers have represented the bonds uniting people, whether in group portraits or in serial imagery. In arranged sittings, form is content: when commissioned to photograph the royals of Germany and England at a wedding in 1894, James Russell and Son’s Studio instinctively centered its composition around the family’s matriarch, Queen Victoria. Camera artists sometimes insert themselves into the action, as Susan Meiselas did when mingling with carnival strippers, first to portray them behind the scenes and then to photograph those in the audience from a performer’s perspective. Action can also be a pose: in 1970, when asked to create a positive poster image for the Gay Liberation Front, Peter Hujar asked the group’s members to run toward him on the street, enacting their slogan, “Come Out!!” Ingenuity may be called for when one’s subjects are all too well-known: a press photographer, Jean-Pierre Ducatez, appealed to the primal desires of Beatles fans by zeroing in on the lips of each band member, creating a captivating game of whos-who. Bringing together works from the 1860s to the present, Among Others poses questions about family, diversity, democracy, representation, and visual delight.

Jacques Henri Lartigue – Life in Color


Robert Capa Contemporary Photography Center 
Budapest, Hungary

7 June - 1 September 2019

One of the surprise-oeuvres of photography is that of the French painter Jacques Henri Lartigue (1894–1986), who was born 125 years ago. He became a world-renowned photographer at the age of 69, following his extremely successful solo exhibition showcased at the Museum of Modern Art (MoMA) in New York, immediately becoming inevitable in the history of photography.

He was documenting his life from the age of 6, keeping an “optical notebook.” He is interested in everything, his curiosity knows no limits. He is mesmerized by the possibility of capturing the one-time, unreproducible experiences, situations, and the observed visual interrelations in his photographs. He is not only seized by the joy of seeing, or the creation of images, but also by using the technical device itself, the camera, and the vast repository of possibilities it offers.

His main subjects were the achievements of technical innovation, flying, car races, speed, social life, women, beauty, and traveling. He magically turned the small miracles of everyday life, the enchanting conjunctions of objects and lights into a common memory for all of us. He disregarded photographic conventions; he followed his heart when taking photographs, he enjoyed observation, photography, and life itself.

Lartigue is a photographer of the bright side of life, whose visual diary reveals a history of the 20th century filled with beauty and joyful moments. His full photographic oeuvre consists of 120,000 negatives, glass plates, slides, moving pictures, and 126 photo albums with the accompanying texts.

The Life in Color exhibition showcases a selection of the color images making up about one-third of the oeuvre, providing an overview of not only the most determining relationships he had, his journeys and his everyday life, but also his experimentation with the various techniques of color photography.

TANYA MARCUSE: WOVEN

Akron Art Museum
Akron, OH
27 April - 27 October 2019 


Joe Vitone: Family Records is an ongoing series of portraits of photographer Joe Vitone’s relatives living in and around Akron, Ohio. Begun in 1998, this body of work documents evolving interpersonal connections between parents and children, siblings, spouses, cousins and other relations within working class communities of the Rust Belt region. Shot each summer when the artist—now based in Austin, Texas—travels back to Ohio, this series features scenes from festivities such as birthday parties and weddings as well as intimate portraits set outside homes and workplaces. Touched by celebrations and struggles including marriage, divorce, addiction, new homes, unemployment, new jobs and babies, the lives of Vitone’s relatives reflect experiences common to families across the United States.

Vitone prints his images, which he captures using 8 x 10-inch and 4 x 5-inch view cameras, in both black and white and color. Featuring 55 works photographed in Akron proper, as well as in surrounding communities including Barberton, Stow and Marshallville, Family Records marks the first time a selection from this series has been exhibited in Northeast Ohio.

Light and Shadow: Dr. Paul Wolff & Tritschler

 

British Journal of Photography

A new book marks the rediscovery of the work of two of the most famous German photographers of the 1930s

'Light and Shadow' is the first comprehensive retrospective of the work of Dr. Paul Wolff and Alfred Tritschler. Tracing their photographs from 1920 to 1950, the book explores Wolff and Tritschler’s roles as pioneers of the Leica, as forerunners of illustrative photography, and as creators of an extensive archive of work that documents several chapters of German history...

Ansel Adams: In Our Time


Crystal Bridges Museum of American Art
Bentonville, AR
23 May - 7 September 2020


This summer, take a trip across the American West through the lens of iconic American photographer Ansel Adams, together with more than 20 contemporary photographers.

For more than 50 years, Ansel Adams captured the breathtaking beauty of the country’s natural landscape in stunning black-and-white photographs. Ansel Adams: In Our Time, a new exhibition developed by the Museum of Fine Arts, Boston, displays Adams’s work alongside contemporary artists whose modern-day environmental concerns point directly to Adams’s legacy.

Visit national parks, the American Southwest, and desert and wilderness spaces through 180 photographs as you move back and forth in time with Ansel Adams and his contemporary successors including Mark Klett, Trevor Paglen, Catherine Opie, Abelardo Morell, Victoria Sambunaris, and Binh Danh, exploring similar themes in a changing American landscape.

Herb Ritts: The Rock Portraits

 

Fenimore Art Museum
Cooperstown, NY
2 April - 2 September 2019


Known for his elegant and minimalist work, and his mastery of photographing in natural light, photographer Herb Ritts (1952–2002) had a gift for turning stars into icons. Here, in the first curated collection of his photos of some of music’s most celebrated artists, visitors will see how he captured the likes of David Bowie, Tina Turner, U2, Bruce Springsteen, Paul McCartney, Bob Dylan, Prince, Cher, Madonna and many more—the world’s biggest music stars—and in the process, helped define their iconic status for generations of fans. See many of his best-known portraits alongside stage costumes and guitars from the Rock & Roll Hall of Fame.

As a native of Los Angeles, Herb Ritts was uniquely attuned to the natural light of the California sun, and preferred to shoot outdoors. He took work seriously and was renowned for posing his subjects in classic, sculptural styles, with little or no pros. He also had a unique, understated way of making his subjects feel comfortable in front of his camera. They trusted him and it’s often that trust and human bond that you see reflected in his portraits. When he died of complications from AIDS at the age of 50, Ritts left behind an extraordinary body of work, that when we see as a whole, demonstrates his undeniable impact on contemporary culture.

LIFE: Six Women Photographers


New York Historical Society Museum & Library
New York, NY
28 June - 6 October 2019

 

For the editors of LIFE—the first magazine to tell stories with photographs rather than text—the camera was not merely a reporter, but also a potent commentator with the power to frame news and events for a popular audience. For decades, Americans saw the world through the lens of the magazine’s photographers. Between the late 1930s and the early 1970s, LIFE magazine retained few women photographers as full-time staff or on a semi-permanent basis. LIFE: Six Women Photographers showcases the work of some of those women and how their work contributed to LIFE’s pursuit of American identity through photojournalism. The exhibition features more than 70 images showcasing the extraordinary work created by Margaret Bourke-White, Hansel Mieth, Marie Hansen, Martha Holmes, Nina Leen, and Lisa Larsen.

How were these women part of a larger editorial vision? What topics did they cover, and how did their work reflect—and sometimes expand—the mission of the magazine? The exhibit reveals these photographers’ important role in creating modern photojournalism and defining what LIFE editor-in-chief Henry Luce called the “American Century.” Curated by Sarah Gordon, curatorial scholar in women’s history, Center for Women’s History, and Marilyn Satin Kushner, curator and head, Department of Prints, Photographs, and Architectural Collections; with Erin Levitsky, Ryerson University; and William J. Simmons, Andrew Mellon Foundation Pre-Doctoral Fellow, Center for Women’s History.

Pushing West: The Photography of Andrew J. Russell


Oakland Museum of California
Oakland, CA
4 May - 1 September 2019

 

Travel back in time through Andrew J. Russell's epic photography of the Transcontinental Railroad’s western expansion, completed 150 years ago in 1869. Though commissioned to document the railroad and its successful development, Russell’s photography reveals the tensions between the economic and technological advances and the Railroad’s significant impact on western lands and Native peoples. His powerful imagery highlights the majesty of the landscape with locomotive engines set amongst vast plains and colossal mountain ranges, captured through Russell’s remarkable technique using the collodion photographic process in remote locations.  

In this intimate exhibition, visitors will view rare vintage and digital prints, powerful landscape and 3D images, and original collodion negatives, as well as memorabilia, ephemera, and a video demonstrating the collodion process. Learn about Russell's legacy as one of the most important photographers of the 19th century in this inspiring presentation of one of the most historic and controversial moments in American history. 

Order of Imagination: The Photographs of Olivia Parker


Peabody Essex Museum
Salem, MA
13 July - 11 November 2019

 

For more than 40 years, Olivia Parker has explored the relationships between vision, knowledge and the natural world. From deceptively simple still lifes that transform the commonplace to her most recent work exploring memory loss, this is the first exhibition to present a comprehensive overview of Parker’s extensive career. Order of Imagination: The Photographs of Olivia Parker features more than 100 intricately composed works that reflect the artist’s wide creative range and unflagging curiosity.

Order of Imagination: The Photographs of Olivia Parker is organized by the Peabody Essex Museum. Generous support for this exhibition is provided by Susan and Appy Chandler, Carolyn and Peter S. Lynch and The Lynch Foundation, Jennifer and Andrew Borggaard and Kate and Ford O'Neil. We also recognize the generosity of the East India Marine Associates of the Peabody Essex Museum.

Cindy Sherman


National Portrait Gallery
London, UK
27 June - 15 September 2019


This major new retrospective explores the development of Sherman’s work from the mid-1970s to the present day, and features around 150 works from international public and private collections as well as new work never before displayed in a public gallery.

Focusing on the artist’s manipulation of her own appearance and her deployment of material derived from a range of cultural sources, including film, advertising and fashion, the show explores the tension between façade and identity.

The Photograph That Rocked the Pop Culture Landscape


Feature Shoot

On June 16, 1964, Rudi Gernreich’s infamous monokini went on sale in New York’s most prestigious department stores. Buyers at B. Altman & Co., Lord & Taylor, Henri Bendel, Abraham & Strauss, Splendiferous and Parisette placed orders after William Claxton’s photograph of Peggy Moffit rocked the pop culture landscape.

Moffit was Gernreich’s muse and Claxton’s wife, and together this ménage a trios was pure fire. The idea for the monokini first came to Gernreich in December 1962 and first appeared in futuristic fashion feature in a late 1963 issue of Look magazine — after LIFE refused to publish them. In The Rudy Gernreich Book, Moffit recalls the editor at LIFE shamelessly told Claxton, “This is a family magazine, and naked breasts are allowed only if the woman is an aborigine.”...

V&A Photography Centre receives major donation from Sir Elton John and David Furnish


British Photographic History

The V&A has announced a new, long-term collaboration with Sir Elton John and David Furnish to revolutionise public access to photography. Comprising a significant donation towards the museum’s recently opened Photography Centre, for which gallery 101 will be renamed ‘The Sir Elton John and David Furnish Gallery’, the partnership will also include a major co-curated temporary exhibition, to be announced in due course...

2019 Portfolio Prize Winner: Mark McKnight


Aperture

Mark McKnight is a modern-day modernist. His black-and-white photographs of skin and sand, brick and tar, with their rich tones and sparkling light, are redolent of twentieth-century masterworks, those pictures by men like Edward Weston who cast the world in silver-gelatin. Weston once said the camera should be used for recording the “quintessence of the thing itself, whether polished steel or palpitating flesh.” But for McKnight, who was born in Los Angeles to a New Mexican, Hispana-identified mother, something was missing from Weston’s vision. Something that would ignite a flame of recognition in a young queer man with ideas about male beauty more expansive than the Eurocentric standard. Something that would make “straight” photography a little less straight...

A Mexican Photographer Explores the Enduring Bonds of Her Indigenous Culture


The New York Times LENS Blog
 
The homes, streets and shops that make a community tangible may crumble, and its residents may scatter, but the invisible bonds of culture, love and longing endure. This is not mere nostalgia. It sustains life itself.

Among the indigenous people from Yalálag in Mexico’s Oaxaca state, these ties bind them to one another, no matter where they may have migrated in search of opportunity. Citlali Fabián’s parents hailed from there, moved to Mexico City, and returned to Oaxaca City, which is 90 grueling kilometers away from Yalálag. But no matter where Ms. Fabián lived, her heritage kept her — and others — close to the cradle of her people, who descended from the Zapotecs.

“Why is it that despite the distance and separation there is that need to stay connected?” Ms. Fabián said. “We who are born away from there, how do we keep the same preference to work, or to celebrate as if they were still there, or the music? It’s interesting how years and generations pass, and we still dance to the same music my grandparents and parents did. It’s the same dance they taught me. It’s very interesting to see the reconnection of generations. You don’t have to live in a specific place. It’s beautiful to create — and recreate — a community when you are away from it.”

Her project, “Soy de Yalálag” — I’m From Yalálag — is a quiet look at the town, its residents and its diaspora, focusing not on what they lack materially, but the richness of a culture that endures and sustains. It is deeply personal, which gives her images of festivals, family and friends an emotional heft that reassures and reaffirms...

Federico Borella wins Photographer of the Year


The British Journal of Photography

Federico Borella has been named Photographer of the Year at the 2019 Sony World Photography Awards, winning the $25,000 prize for his series Five Degrees – a look at male suicide in the farming community of Tamil Nadu, southern India, which is facing its worst drought in 140 years. The Italian photographer’s work takes its lead from a Berkeley University study, which found a correlation between climate change and increased suicide rates among Indian farmers, and explores the impact of both via images of the farming landscape, mementoes of the farmers, and portraits of their survivors.

“As global warming changes the face of life ever more rapidly – particularly in developing and underdeveloped nations – the work of artists such as Borella becomes ever more needed,” commented Mike Trow, chair of the professional jury. He added that this year’s submissions “provoked a lot of debate and interest amongst the jury” with works “pushing the boundaries of photography and challenging the perceptions and expectations the audience”. 

High Museum Names Sarah Kennel Curator of Photography


Art News

 The High Museum of Art in Atlanta has appointed Sarah Kennel as its curator of photography, a position she currently holds at the Peabody Essex Museum in Salem, Massachusetts. She starts at the museum on July 1.

“I am delighted to join the High at a vital moment of growth for the photography program and am inspired by the institution’s commitment to curatorial excellence, relevance, and equity,” Kennel stated in a release. “The High has played a key role in defining the range of American photographic practice, especially with its commitment to civil rights and Southern photography.”

The High holds one of the largest collections of photography from the Civil Rights Movement, and the museum’s gallery for photography recently expanded by 3,000 square feet during the museum’s collection reinstallation. Among the photographers in its collection are such artists as Eugene Atget, Wynn Bullock, Harry Callahan, and Evelyn Hofer.

Rand Suffolk, director of the High, said, “Sarah’s myriad accomplishments as a curator and scholar, together with her commitment to innovation and inclusion, make her exceptionally well-suited to lead the continued growth of our active photography department.”

 

Cantor wins major photography archive and endowment for Stanford


Datebook

Ansel Adams made only six “museum sets” containing 75 of his best pictures. That’s why when he offered one to a Los Angeles money management firm shortly before his death, its officers jumped at the opportunity.

That purchase, 38 years ago, started a collection that grew to 1,000 images by seven major American photographers before the firm, Capital Group, decided to give it all away to one university. An informal competition was held among 20 top university art museums nationwide, and on Tuesday, March 12, Stanford University announced its Cantor Arts Center as the victor.

The Capital Group Foundation Photography Collection at Stanford University is accompanied by a $2 million endowment, and a full-time curator will be hired to manage it. The collection goes deep into the careers of Adams, Edward S. Curtis, Edward Weston, Wright Morris, John Gutmann, Gordon Parks and Helen Levitt. All of the prints were made by the artists.

Cantor plans to mount the premiere in September, with a show of selections from the Adams 75, plus the 386 images by Weston...

Photographs: New York Auction 4 April 2019 Results

Phillips Auctions


Vice

In the nearly two centuries since Daguerre's classic 1838 Parisian street scene, exposed for several minutes, miraculously capturing two men who stayed still long enough to show up on the negative, attitudes towards street photography, photographing in public, and the possibility of the medium—digital or not—to achieve any sense of objective truth have changed continuously. And the debates have been contentious. For years, many traditionalists treated the genre with a rigid sense of rules prescribed by street-photo-godfather Henri Cartier-Bresson. No double exposures, no printing techniques that might obscure the original content on the negative, no cropping that could change what was captured. Some insisted on including the edges of the negative on their prints as “proof” that the original photo had not been altered.

And then Photoshop and digital photography opened up a whole new can of worms...

Luigi Ghirri: The Map and the Territory


Jeu de Paume
Concorde, Paris
12 February - 2 June 2019


This first retrospective of photographs taken outside his native Italy by Luigi Ghirri (1943- 1992) focuses on the 1970s. It covers a decade in which Luigi Ghirri produced a corpus of colour photographs unparalleled in Europe at that time.

Luigi Ghirri, who was a trained surveyor, began taking photographs at weekends in the early 1970s, devising projects and themes as he roamed up and down the streets, the piazzas and the suburbs of Modena. He cast an attentive and affectionate eye on the signs of the outside world, observing, without openly commenting on them, the changes wrought by humans to the landscape and the housing in the Reggio Emilia, his province of birth. It was a barometer for a local vernacular exposed to the advent of new forms of housing, leisure and advertising. “I am interested in ephemeral architecture, in the provincial world, in objects generally regarded as bad taste, as kitsch, but which have never been that for me, in objects charged with desires, dreams, collective memories [...], windows, mirrors, stars, palm trees, atlases, globes, books, museums and human beings seen through images.”

The Winning Photos of the 2019 Wet Plate Competition


The British Journal of Photography

Modern Collodion has just announced the winners of the 2019 Wet Plate Competition, the second annual contest for wet plate collodion photographers around the world after launching last year.

This year, over 220 photos were submitted by 90 photographers based in 19 different countries. The judges, Michael Godek, Giles Clement, Alex Timmermans, Tom DeLooza, and Paul Barden, spent nearly a month on “difficult deliberation” before deciding on the handful of winning wet plates.

50 years of Arles: Les Rencontres d’Arles 2019 programme


The British Journal of Photography

The biggest and most respected photo festival returns for its 50th year with 50 exhibitions that celebrate its history and influence, as well as championing cutting-edge photography and emerging talent

50 years ago, photographer Lucien Clergue, writer Michel Tournier and historian Jean-Maurice Rouquette put together the first edition of Les Rencontres d’Arles in the city’s town hall. They had three exhibitions – a group show tracing the history of photography, and solo shows by Gjon Mili and Edward Weston. Now it’s the largest and most prestigious photography festival in the world, and this summer, they celebrate 50 years with 50 exhibitions, looking back on their history and heritage, as well as championing cutting-edge photography and emerging talent.

Running from 01 July till 22 September, the festival is lead by director Sam Stourdzé for the sixth year. Last year, Stourdzé was criticised by a group of eminent photography specialists in an open letter urging him to include more women in the main programme. A year on, it seems they’ve taken the criticism on board. Marina Gadonneix, Germaine Krull, Helen Levitt, Evangelia Kranioti, Libuse Jarcovjakova, Camille Fallet, and Pixy Liao, among many more, appear on the main programme with solo shows; the festival also includes a section titled Replay, which is dedicated to female-led narratives...

Dorothea Lange: Politics of Seeing


Frist Art Museum
Nashville, TN
15 March – 27 May 2019


Dorothea Lange (1895–1965) is widely recognized as one of the most important documentary photographers of the twentieth century. She was a prominent advocate of the medium’s power to effect change and used her camera as a political tool to expose what she saw as injustices and inequalities. Lange was also a formidable woman of remarkable vigor and resilience. Having overcome adversity during her childhood in New Jersey, she went on to become a successful portrait photographer of San Francisco’s elite. In 1933, she took her camera to the streets for the first time to document the unemployed people—economically devastated by the Great Depression—she saw from her studio window. Later, she focused her attention on migrant farm laborers and refugees streaming into California from the Dust Bowl states in search of work. During much of this time, Lange worked for the government’s newly established Resettlement Administration (later called the Farm Security Administration), and her photographs were meant to be powerful arguments for federal assistance.

Although Lange’s photographs were taken more than fifty years ago, many of the issues they address remain relevant today: poverty, environmental degradation, treatment of immigrants, the erosion of rural communities, racial discrimination, and women’s rights. They also speak to the continuing role of visual images in shaping public opinion and political positions.

The exhibition encompasses more than 150 objects, including vintage and modern photographs, letters and a video.

Anthony Hernandez: L.A. Landscapes


Nelson-Atkins Museum of Art
Kansas City, MO
19 April 2019 - 18 August 2019


For nearly 50 years, Anthony Hernandez has photographed the social landscape of his native Los Angeles. His pictures convey an abiding human concern for issues of class and race as they impact, and are shaped by, urban environments. The exhibition features selections from several bodies of work made between 1978 and 2012, highlighting Hernandez’s mid-to-late career achievements.

Black and white photographs from the series Automotive Landscapes, Public Transit Areas, Public Use Areas, and Public Fishing Areas focus on the everyday activities of people as they negotiate the unforgiving concrete landscapes that dominate Los Angeles, a city reliant on automotive transport.

Large-scale color photographs from the two series Everything and Forever focus on the city’s overlooked, fringe landscapes. Made while Hernandez walked the Los Angeles River basin, Everything transforms drainage ditches and storm drains –“wastelands” rarely seen by car – into somber, geometric abstractions. For Forever, Hernandez adopted the point of view of the homeless, focusing on spare, material traces that mark this way of life. Through Hernandez’s empathetic lens, these pictures emphasize the emotional and psychological impact of living on the streets, giving symbolic weight to the simplest of objects.

Martin Parr’s Only Human

The British Journal of Photography

When the Portrait Gallery was established in London in the mid-19th century, its role was envisioned “to consist of those persons who are most honourably commemorated in British history”. Opening in an era when photography was still a new and untried technology, the National Portrait Gallery (as it later became known) was intended to be the national repository of the images, chiefly paintings and drawings, of those men and, much later, women who represented what was best among the British hierarchy of achievements, skills and aptitudes. Its function was to hold up a mirror to Britain that reflected its qualities back to those who came to observe them, as object lessons about how to aspire to, or more simply respect, the qualities and moral standing of the great and the good.

This conception of the NPG may still be widespread in the public mind, as even Martin Parr thought his work would be an ill-fit for a contemporary exhibition along these lines. “I never thought of myself as a portrait photographer,” he says, “and when I first met Phillip Prodger [NPG’s former head of photographs], I told him I had only a few celebrity portraits. I just put a lightbox together and sent them to him, though I was quite surprised at what I had.” Prodger, however, had other ideas, seeing in Parr the work of a social observer who could also offer a portrait of a nation at a key point in its history. So it is that the NPG put together Only Human, on show from 07 March to 27 May, bringing together some of Parr’s most famous photographs alongside a number of works never exhibited before...

A living legend steps away from photography and then returns with ‘I Know How Furiously Your Heart is Beating


The Washington Post

If you have been following the world of photography over the past 10-plus years, you no doubt have heard of and are familiar with the work of American photographer Alec Soth. A member of the prestigious Magnum Photos cooperative, Soth has published numerous monographs of photography and has exhibited far and wide to high acclaim.

Soth first came to prominence around 2004 after his work (also a book) “Sleeping by the Mississippi” caused waves of excitement among some of the industry’s most prominent gatekeepers at the prestigious Review Santa Fe in 2003, where it took the Santa Fe Prize (now called the Santa Fe Fellowship). He subsequently became a member of the aforementioned world-famous photo cooperative and published more books, including “Niagara” and “Songbook.” Along the way, Soth cemented his place as one of the most important photographers working today.

In addition to publishing books and holding exhibitions of his work, Soth is also known for his engaging online presence through his Instagram handle @littlebrownmushroom. He has also published work through an imprint (http://www.littlebrownmushroom.com/shop/) of the same name (everything at the site’s online store is sold out). Having said all of that, Soth tried to pull back from photography for a spell before his latest book, “I Know How Furiously Your Heart is Beating” came out this year. Elaborating on that point, Soth has said:

“After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large-scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped traveling and photographing people. I barely took any pictures at all.

"When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life.

"In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, it’s only to emphasize that these pictures aren’t about any place in particular. Whether a picture is made in Odessa or Minneapolis, my goal was the same: to simply spend time in the presence of another beating heart.”

The resulting work is a compilation of images that are, according to the publisher, “fundamentally about intimate encounters in private rooms.” The book coincides with a host of solo exhibitions at the following venues: Weinstein Hammons, Minneapolis; Sean Kelly Gallery, N.Y.; Fraenkel Gallery, San Francisco; and Loock Gallery, Berlin.

The title of Soth’s latest book is taken from the poet Wallace Stevens’s short poem, “Gray Room.”...

PHOTOCULTURE Conversations #20: Sheila Bergman

Sheila Bergman is the Executive Director of UCR ARTS. Bergman oversees the California Museum of Photography and Barbara and Art Culver Center of the Arts. We talked about her vision for the museum and the desire to engage with the photography community at home and worldwide.

“What do we want our legacy to be? And what impact do we want to have?

News from the World of Photography: March 2019

*|MC:SUBJECT|*

Beautiful and Unclichéd Photographs of Japanese Landscapes


AnOther
 

Spanish photographic duo Albarrán Cabrera first travelled to Japan six years ago, and have returned there every year since. Turning their lens to Japan’s landscapes and characters, Anna P Cabrera and Angel Albarrán offer a new perspective on the nation through their images via their choice of subject and innovative method of processing images – the pair incorporate both modern and traditional printing techniques into their practice, with additions such as Japanese paper and gold leaf bringing a distinctive warmth and unique palette to their colour prints...

Debunking the Myths of Robert Capa on D-Day


PetaPixel

I want to give you a brief overview of an investigation that began almost five years ago, led by me but involving the efforts of photojournalist J. Ross Baughman, photo historian Rob McElroy, and ex-infantryman and amateur military historian Charles Herrick.

Our project, in a nutshell, dismantles the 74-year-old myth of Robert Capa’s actions on D-Day, June 6, 1944, and the subsequent fate of his negatives. If you have even a passing familiarity with the history of photojournalism, or simply an awareness of twentieth-century cultural history on both sides of the Atlantic, you’ve surely heard the story; it’s been repeated hundreds, possibly thousands of times:

Robert Capa landed on Omaha Beach with the first wave of assault troops at 0630 on the morning of June 6, 1944 (D-Day), on freelance assignment from LIFE magazine.

He stayed there for 90 minutes, until he either inexplicably ran out of film or his camera jammed...

Rare 19th-century images show China at the dawn of photography


CNN Style
 
Before the arrival of photography, the Western imagination of China was based on paintings, written travelogues and dispatches from a seemingly far-off land. From the 1850s, however, a band of pioneering Western photographers sought to capture the country's landscapes, cities and people, captivating audiences back home and sparking a homegrown photography movement in the process. Among them were the Italian Felice Beato, who arrived in China in the 1850s to document Anglo-French exploits in the Second Opium War, and Scottish photographer John Thompson, whose journey up the Min River offered people in the West a rare look into the country's remote interior.

These are just some of the figures whose work features in a 15,000-strong photo collection amassed by New York antiquarian and collector Stephan Loewentheil. His 19th-century images span street scenes, tradespeople, rural life and architecture, showing -- in unprecedented detail -- everything from blind beggars to camel caravans on the Silk Road...

Patti Smith’s Talismanic Photos from Frida Kahlo and Diego Rivera’s Home and Beyond


The New Yorker

In 2012, Patti Smith traveled to Mexico City to speak and perform at La Casa Azul, the former home of the artists Frida Kahlo and Diego Rivera. While visiting the property, which now serves as a museum, Smith took several black-and-white Polaroid photographs of objects she encountered: a pair of crutches that belonged to Kahlo; her worn corset; a white coverlet with crocheted trim, dangling from a wooden bed frame. Those images are part of a new exhibit of Smith’s photographs, titled “Wing,” which is now on display at the Diego Rivera Gallery, at the San Francisco Art Institute, adjacent to Rivera’s 1931 mural “The Making of a Fresco Showing the Building of a City.”...

Busy living everything with everyone, everywhere, all of the time


The British Journal of Photography

 Since he was first named director of the Maison Européenne de la Photographie, the centre for contemporary arts situated in the heart of Paris’ historic 4th arrondissement, one year ago, Simon Baker – formerly the Tate’s first-ever photography curator – has had to resist the urge to throw open the windows.

“It’s an old hôtel particulier, so it has very grand rooms, but they are essentially domestic spaces,” he says of the exhibition halls perused by the public since 1996. “At the moment I want to leave all the curtains and the windows open. You have this feeling of an opening up of the space.”...

 

The Electric Intimacy of Alice Springs


The Cut

It’s a joy to contemplate the photography of June Newton, a.k.a. Alice Springs. The Australian-born Springs is the 95-year-old widow of the provocative fashion photographer Helmut Newton, but that’s the least interesting thing about her.

Under Springs’s gaze, world-famous actresses like Catherine Deneuve, Charlotte Rampling, and Audrey Hepburn look like people, not icons — conversational, intent, their eyes telegraphing depths beneath. Springs respects their beauty, but doesn’t accept it as a mask. There are shadows beneath Deneuve’s perfect features; Hepburn looks gorgeous, but her age.

Vivid personalities leap from Springs’s portraits, which depict not just her subjects but her dialogue with them. Early on, Springs decided to forgo studio portraits and photograph people on their own territory, peeling back the protective facades that prominent people — especially the famous and beautiful — often construct...

The Extended Moment: Photographs from the National Gallery of Canada

The Morgan Library and Museum
New York, NY
Through 26 May 2019


The Extended Moment brings forth around seventy works that reveal the historical, technological, and aesthetic breadth of the collection, which is little known in this country. In the exhibition’s presentation at the Morgan, works of far-flung origins are placed side-by-side to highlight recurring trends and tensions in the history of the medium. Artists include Edward Burtynsky, Julia Margaret Cameron, Henri Cartier-Bresson, Lynne Cohen, John Herschel, Richard Learoyd, Lisette Model, Gordon Parks, Edward Steichen, and Josef Sudek.


The New Yorker

In 2007, Guy retrieved her pictures from Struth’s storage facility. The occasion was a show at White Columns, the venerable downtown nonprofit space, spotlighting the work of six art dealers who started as artists (one surprising inclusion was the power player Jeffrey Deitch). But it wasn’t until a 2015 solo outing at Cleopatra’s, the side project of a group of enterprising young women with day jobs in New York galleries, that interest in Guy’s work began to intensify. Last year, Hunters Point Press published Guy’s first eponymous monograph, a beautiful, slender book. Until March 9th, you can see Guy’s early work on view at the Upper East Side gallery Higher Pictures...

Polly Penrose Self-Portrait as an Accessory


The Eye of Photography

“My body is a prop.” _ Polly Penrose

Polly Penrose, an English photographer, makes her normal woman’s body (that’s how she defines herself) an accessory in response to a place, usually a home emptied of her residents.

The London photographer began by practicing self-portraits on the sly in houses waiting for new buyers. The procedure was and is still the same.

First, find out about and ask for permission from real estate agencies, painstakingly explaining the purpose of the process, judged in many cases, strange or even disturbing.

Then go on the spot, to impregnate the disused home while being attentive to the residual traces, to the geometry of the banality of the suburban houses.

Finally, perform self-timer snapshots in a handful of seconds, rush, pose hiding her face and, in most cases, achieve a disastrous or unwanted effect, accompanied by hematomas or small accidental injuries...

Mona Kuhn’s Abstraction of Being


The British Journal of Photography

"I wanted to stop time with photography. That's another reason I got into nudes, for the timeless aspect,” says Mona Kuhn, who has just published her sixth book with Steidl

“I got into photography because I’m a little restless, and I liked that it was fast,” says Brazilian photographer Mona Kuhn, who has just published her sixth book with Steidl, She Disappeared Into Complete Silence. Even so, the speed of photography haunted her, as Kuhn feared that her photographs would be consumed then discarded – like so many of the magazines she read and tossed away. “I wanted to stop time with photography,” she says. “That’s another reason I got into nudes, for the timeless aspect.”...

JOEL MEYEROWITZ: Selections from the Series “Aftermath”


The Philip and Muriel Berman Museum of Art at Ursinus College
Collegeville, PA
Until 11 May 2019


The people of New York City have always been an inspiration to Bronx-born photographer Joel Meyerowitz. Heavily influenced by the street photography of Robert Frank and Henri Cartier-Bresson, Meyerowitz captured his subjects with a compact 35mm camera. In the 1960s, when he began his investigation into street photography, he was unaware that he would become one of the first advocates of color photography. Now, his vibrantly colored and vividly patterned photographs of New Yorkers are some of his best-known artworks.

Discovering Contemporary Mexico Beyond the Daily Headlines: The Images of Graciela Iturbide


The Washington Post

What are the images that define contemporary Mexico? In the foreign eye, they are pictures of migrant caravans, escaped drug traffickers, beaches conjured by the American imagination.

Joan Didion once wrote of the Mexican state of Durango, “The very name hallucinates.” And so it seems with the country as a whole, a nation distorted in the public imagination for decades, reduced to a convenient caricature. It’s hard not to see the ellipses between that iconography and an American president whose politics hinge on the idea of a lawless Mexico, unpierced by nuance.

Which is why 2019 is the appropriate year for the world to discover Graciela Iturbide, who now has extensive exhibitions in Boston and Mexico City. For a half-century, Iturbide has traveled across her own country with a camera loaded with black-and-white film. She has taken pictures that are often described as dreamlike, surreal or painterly, but those words fall short...

An Unflinching View of Venezuela in Crisis


The New Yorker

Alejandro Cegarra’s photo series “State of Decay” is an unflinching portrait of Venezuela’s collapse. How this country went from being one of Latin America’s richest societies to one of its poorest is a disaster of bewildering proportions, one that defies easy explanation.

Venezuela has the largest proven oil reserves in the world, but since the 2014 crash in world oil prices, on which Venezuela depended for more than ninety percent of its export revenues, its economy has contracted continuously, unleashing an economic crisis worse than that experienced by Americans during the Great Depression.

In the past five years, three million of Venezuela’s thirty-two million people have fled the country. More than half of all Venezuelans lack enough food to meet their daily needs. The country’s hospital system has all but failed; countless Venezuelans have died owing to a lack of medical attention and the scarcity of medicines for treatable illnesses. Hyperinflation is expected to reach ten million percent this year. On top of everything else, Venezuela’s murder rate is among the world’s highest, making it one of the most dangerous countries in the world to live in...

Daido Moriyama: Hasselblad Award Winner 2019


The Hasselblad Foundation

The Hasselblad Foundation is pleased to announce that Japanese photographer Daido Moriyama is the recipient of the 2019 Hasselblad Foundation International Award in Photography for the sum of SEK 1,000,000 (approx. USD 110,000). The award ceremony will take place in Gothenburg, Sweden on October 13, 2019. A symposium will be held on October 14, followed by the opening of an exhibition of Moriyama’s work at the Hasselblad Center, and the release of a new book about the artist, published by Verlag der Buchhandlung Walther König.

A Year of Quiet Contemplation Led to the Rebirth of Alec Soth’s Photography


The New York Times LENS Blog

After meditating during a flight to Helsinki, Alec Soth took a walk, sat down by a lake, and had an experience that could only be described as transcendental.

“It’s goofy talking about such a thing, but there were tears running down my face, the whole package,” he said. “Afterwards, walking back to my hotel, every time I saw someone I was like, ‘I love that person.’ It was probably not unlike what people experience on LSD.”

The experience in 2016, he said, changed the way he saw the world and, by extension, how he viewed his creative life. Mr. Soth had been a successful photographer for more than a decade. He had first drawn wide acclaim after his 2004 book, “Sleeping by the Mississippi,” and built a reputation as a skilled chronicler of American life in the tradition of photographers like Walker Evans and Robert Frank. He was, as the New York Times critic Hilarie M. Sheets once noted, especially adept at “finding chemistry with strangers,” particularly “loners and dreamers” he met in his travels...

Through a New Lens


What Will You Remember?

Whether or not you are fighting winter doldrums, here is a little show with big heart that’s sure to lift your spirits. It highlights a transformative slice of photographic history, the period following WWII. Feeling both relief and elation at having survived the war, unfettered European photographers invented an exuberant new genre that celebrated daily life. “Postwar Visions: European Photography, 1945-60” sheds light on this enduring burst of innovation at the MFA, Boston through June 23rd, 2019.

The horrors of war saw a robust backlash of humanism in the arts. For photography, the movement started in Germany with Otto Steinert, a former physician who created the collective known as “Subjektive Fotografie” (Subjective Photography). The group sought to elevate the ordinary and bring a sense of awe to the banal. This brought photography into the realm of abstraction, directly building upon tenets developed before the war at the Bauhaus, Germany’s legendary school of art, architecture and design founded by Walter Gropius a century ago in 1919 and shuttered by the Nazi regime just fourteen years later in 1933...

Beyond Truth: Photography After the Shutter


The Cleveland Museum of Art
Cleveland, OH
Through 26 May 2019


Just how truthful is photography? Despite the ability to manipulate selfies on our cell phones, many of us cling to the illusion that the medium has an inherent connection to truth. Even if a camera produces an accurate recording of a scene in front of the lens, many changes can be wrought during the transition from captured light to printed image. Beyond Truth explores figurative scenes and portraits in which artists have altered the “truth” through postproduction techniques ranging from composite printing, multiple exposures, and handwork on negatives and prints to digital capture and manipulation.

The exhibition, which includes photographs from the Akron Art Museum and the Fred and Laura Ruth Bidwell Collection, is drawn largely from the Cleveland Museum of Art’s holdings. The show marks the debut of 13 works owned by the museum, 7 of which are recent acquisitions. Among those are a 1936 retelling of the Narcissus myth by French photographer Laure Albin Guillot and a “portrait” by Trevor Paglen that was produced in 2017 not with a camera but by an Artificial Intelligence.

Ralph Eugene Meatyard: Stages for Being


Bates College Museum of Art
Lewiston, ME
25 October 2019 – 28 March 2020


Ralph Eugene Meatyard (1925–1972) moved to Lexington, Kentucky in 1950 and developed a passion for photography along with a career as an optician. Over the next two decades, he created the enigmatic images that would secure his place in the history of the medium by consciously challenging the concept of the camera as a mere recorder of the world. Meatyard’s photographs are seldom seen in Maine. Stages for Being celebrates his legacy with over eighty vintage prints chosen to explore his innovative practice of staging photographs.

PHOTOCULTURE Conversations #18: Darius Himes

Darius Himes is the International Head of Christie’s. We talk about the inner workings of the auction world, the emotional dynamics of auction bidding, and some of the treasures that he’s had the privilege to work with.

Himes is responsible for setting and implementing a global strategy for the department and managing the international team. He is based in New York, and brings with him a rich knowledge of the history of the medium, with a keen interest in the contemporary market. Most recently Himes was director of Fraenkel Gallery in San Francisco. Prior to that, he was a co-founder of Radius Books, a non-profit publisher of books on art and photography, and a founding editor of photo-eye Booklist, a quarterly magazine devoted to photography books. A widely respected lecturer and writer on photography and photobooks, his most recent title, Publish Your Photography Book, was co-authored and published in 2011. He received his Masters of Arts from St. John's College and his Bachelor of Fine Art’s degree in Photography from Arizona State University. Himes also lived in Haifa, Israel, where he oversaw and worked with a permanent collection of over 50,000 photographic objects drawn primarily from the Near and Middle East and dating as early as the 1870s.

We spoke on August 16 at Christie's Beverly Hills. 

Spotlight: Gabriel Figueroa and the Knotty the Aesthetics of the Female Body


AI-AP

Gabriel Figueroa’s series “Nodum” is a study in landscapes.
The project matches the landscapes of the female body with the desert landscape of Cuatro Ciénegas in the State of Coahuila
northen Mexico — one of the few places in the world, Figueroa notes, “to have gypsum dunes, warm pools in the middle of the desert and a marble quarry.” The work was also inspired and influenced by pre-Raphaelite paintings and the Japanese art of rope binding called shibari, as well as other icons from photography and paintings.

“However, as in all creative processes, this project followed its own evolutionary path and the resulting images are the consequence of an organic and spontaneous creative flow,” notes the photographer.

“In this manner, different implicit lines of work can be identified throughout these images,” he writes in his artist’s statement. “On one side, the fantasy of the nude female body, enveloped by the embrace of intricate knots; that surround it and invigorate the eroticism in an open-air setting. On the other hand, the quiet stillness of the landscape echoes the silent submission implicit in the bindings. Yet there are other elements that can be observed: the vestige, the marks, the ephemeral scar, the kiss of the rope as a symbolic element of the interventions on the human body and on the desertic landscape.”...

Portrait of Humanity: The Anonymous Project is restoring our collective memory, one colour slide at a time


The British Journal of Photography

Founded in 2017, the project has already rescued 700,000 colour slides, which tell the story ‘of all our lives’

When filmmaker Lee Shulman bought a box of vintage slides from
Ebay, he was hoping for some blurry snaps to flick through on a Sunday afternoon, and maybe a picture or two to keep. But when they arrived, ‘I nearly fell off my seat.’  What he saw amazed him: here were hundreds of snapshots of strangers’ lives. The poses were instantly recognisable: children grinning over birthday cakes, couples squinting on the beach – the simple magic of unstaged life, captured in rich Kodachrome colour.

The price of
colour
photography plummeted in the early Fifties, allowing people to snap away with newfound freedom. But the chemicals that produce the slides fade over time. If the photos were to disappear, then with them so would the memories of our collective human experience – and Shulman didn’t want to let that happen...

Untroubled Irving Glenn


MINA Image Centre
Beirut, Lebanon
16 January - 28 April 2019

 
Irving Penn (1917-2009), recognized as one of the masters of photography of the twentieth century, is widely admired for his iconic images of high fashion and for the remarkable portraits of the artists, writers, and celebrities who defined the cultural landscapes of his time. 

Drawing inspiration from Resonance, an exhibition organized by the Pinault Collection in 2014 at the Palazzo Grassi in Venice, the exhibition Untroubled seeks first and foremost to pay tribute to the photographer’s unique legacy.

The exhibition presents the photographs not in a linear, chronological sequence but arranged in a manner that brings out their subliminal affinities. Commercial projects cohabit with ethnographic studies, discarded refuse with sophisticated models, cultural celebrities with animal skulls. 

As Penn remarked, “It is all one thing”.

New Southern Photography


Ogden Museum of Southern Art
New Orleans, LA
6 October 2018 - 10 March 2019


New Southern Photography highlights the exciting and diverse breadth of photography being practiced in the American South today. The largest photography exhibition at the Ogden Museum to date, this exhibition features the work of twenty-five emerging, mid-career and established photographers. Each photographer is individually showcased with a monographic installation focusing on a single body of work within the context of a group exhibition. All types of lens-formed imagery are included from traditional analog and digital still photography to video installation and new media. New Southern Photography is available for travel to other institutions through 2021.

New Southern Photography explores the role photography plays in formulating the visual iconography of the modern New South. Regional identity in an interconnected and global world is central to the exhibition’s narrative. Themes and ideas addressed in New Southern Photography
include: memory, the experience of place in the American South, cultural mythology and reality, deep familial connections to the land, the tension between the past and present, and the transitory nature of change in the New South.

The goal of New Southern Photography is to create a space for conversation about the region. This exhibition not only highlights recent contributions the American South has made to the world through
photography, but serves as a platform to broaden the understanding and appreciation of this complicated, contested and often misunderstood region. New Southern Photography follows in the rich tradition of Southern literature, where storytelling is paramount.

Then They Came for Me: Incarceration of Japanese Americans During WWII and the Demise of Civil Liberties


The Eye of Photography

 Then They Came for Me: Incarceration of Japanese Americans during WWII and the Demise of Civil Liberties examines the terrifying period in U.S. history when the government scapegoated and imprisoned thousands of people of Japanese ancestry. This multimedia exhibition draws parallels to tactics chillingly resurgent today featuring imagery by noted American photographers Dorothea Lange and Ansel Adams, alongside works by incarcerated Japanese American artists Toyo Miyatake and Miné Okubo.

Presented by the Jonathan Logan Family Foundation in partnership with the National Japanese American Historical Society and J-Sei, the exhibition tells the story of the forced removal of 120,000 Japanese American citizens and legal residents from their homes during World War II without due process or other constitutional protections.

 

‘I Ranged Far and Wide’: Dawoud Bey on Imagining the Paths of Fugitive Slaves

ARTNEWS

When Chicago-based artist Dawoud Bey traveled to the outskirts of Cleveland in late 2017, he found a landscape largely unchanged since thousands of slaves had crossed it 200 years ago, seeking freedom in the north. There were no telephone lines or cell towers, just the scraggly brush that had made the passage so treacherous. “I ranged far and wide out there, since there were expansive rural landscapes that looked as they might have in the 18th and 19th centuries,” Bey said recently in an extensive email interview. “The landscape and history there has not been built over.”

Bey was at work on his series of black-and-white silver gelatin photographs, “Night Coming Tenderly, Black,” commissioned by Front International: Cleveland Triennial for Contemporary Art and now on view at the Art Institute of Chicago. The exhibition caps off an eventful couple of years for Bey that kicked off with his winning a coveted MacArthur “Genius” grant in fall 2017. Last summer, Front premiered “Night Coming Tenderly, Black” in Cleveland’s St. John’s Episcopal Church, once a stop on the Underground Railroad. Then September brought the publication of “Seeing Deeply,” a 400-page monograph from the University of Texas Press, as well as the opening of an exhibition at the National Gallery in Washington, DC, of his “Birmingham Project” photographs. (That show is up through March 24) In 2020 the San Francisco Museum of Modern Art and the Whitney Museum of American Art will give Bey a full retrospective...

Graciela Iturbide’s Photos of Mexico Make ‘Visible What, to Many, Is Invisible’

The New York Times LENS Blog

Graciela Iturbide may be one of the most renowned photographers working today. Five decades into her journey with a camera, her work, most famously in indigenous communities in her native Mexico, has achieved that rare trifecta — admired by critics, revered by fellow photographers and adored by the public. She continues to travel, photograph and exhibit all over the world.

But it is becoming impossible to discuss her work without mentioning the Zapotec woman wearing live iguanas on her head. 

Ms. Iturbide made the photo after happening upon Zobeida Díaz at a farmer’s market while living with the Juchitán of southeastern Oaxaca in 1979. It took several tries — the iguanas kept moving around, falling off, reducing her subject to laughter — but on her contact sheet, Ms. Iturbide found her “Nuestra Señora de las Iguanas (Our Lady of the Iguanas),” an image so arresting that 40 years later, its popularity is still growing...


The British Journal of Photography
 

The World Press Photo Foundation has announced the six talents from North and Central America in its ongoing 6×6 Global Talent Program. Aimed at picking out under-recognized visual story-tellers from around the world, the 6×6 programme is now on its fifth region, out of the six identified around the world. This time, the talents picked out were: Dylan Hausthor, USA; Ian Willms, Canada; Mariceu Erthal García, Mexico; Nydia Blas, USA; Tomas Ayuso, Honduras; and Yael Esteban Martínez Velázquez, Mexico...

Over 6,000 Ottoman-Era Photographs Now Available Online


Hyperallergic

The Getty Research Institute has recently digitized over 6,000 19th- and early 20th-century Ottoman-era photographs, collected in the 1980s by French collector Pierre de Gigord during his travels through Turkey. The collection is now available to study and download for free online.

The photos encompass various walks of Ottoman life, depicting “landmark architecture, urban and natural landscapes, archeological sites of millennia-old civilizations, and the bustling life of the diverse people who lived over 100 years ago in the last decades of the waning Ottoman Empire,” according to the Iris, the Getty Research Institute’s blog.

The collection includes a 10-part panorama of Constantinople, which required stitching separate prints together to create a panoramic view of the Istanbul skyline in 1878. The shots can now be viewed in their entirety on a single screen. 82 glass plate negatives were digitized, along with 60 photographic albums documenting scenes of Ottoman life. Each individual image in the albums was photographed and digitized, allowing viewers to see up-close details alongside the calligraphic image captions...

Ansel Adams in Our Time


Museum of Fine Arts Boston
Boston, MA
13 December 2018 – 24 February 2019


Ansel Adams in Our Time traces the iconic visual legacy of Ansel Adams (1902–1984), presenting some of his most celebrated prints, from a symphonic view of snow-dusted peaks in The Tetons and Snake River, Grand Teton National Park, Wyoming (1942) to an aerial shot of a knotted roadway in Freeway Interchange, Los Angeles (1967). The exhibition looks both backward and forward in time: his black-and-white photographs are displayed alongside prints by several of the 19th-century government survey photographers who greatly influenced Adams, as well as work by contemporary artists whose modern-day concerns centered on the environment, land rights, and the use and misuse of natural resources point directly to Adams’ legacy.

Adams’ stunning images were last on view at the MFA in a major exhibition in 2005; this new, even larger presentation places his work in the context of the 21st century, with all that implies about the role photography has played—and continues to play—in our changing perceptions of the land. The Adams photographs in the exhibition are drawn from the Lane Collection, one of the largest and most significant gifts in MFA history.

Telfair Museums Receives Donation of Works by American Photographer Bruce Davidson


Telfair Museums
Savannah, GA

Telfair Museums announced the acquisition of 347 photographs by photographer Bruce Davidson (American, B. 1933). This anonymous gift is a transformational addition to the museum’s permanent collection by a world-renowned photographer whose work is in significant museum collections across the world, including at the Art Institute of Chicago, the National Gallery of Art, and MoMA, among others.

The collection spans Davidson’s career from 1956 to 2008 and includes images from his most well-known series including Circus (1958), Brooklyn Gang (1959), Time of Change (1961-1965), East 100th Street (1970), a study of poverty and discrimination in Harlem, and Subway (1980), an essay on a particular American subculture.

Davidson is a prolific photographer recognized for his humanistic portrayals of all walks of life. Erin Dunn, Assistant Curator at Telfair Museums has curated Telfair’s photography collection since 2014 and says, “History and human nature are deftly revealed through the empathetic eye of Bruce Davidson. This momentous gift not only allows us to revel in the individual photographs of Davidson, but to appreciate his entire career’s worth of noteworthy subjects and imagery. The photographs stand on their own, but will also complement themes and subject matters already evident in Telfair Museums’ permanent collection.”

Photography plays a prominent role in Telfair’s robust schedule of annual exhibitions, and in recent years the museum has also traveled photography exhibitions drawn from its permanent collection to museums in New York, California, Texas, Florida, and Wisconsin. “It is difficult to overstate the impact that this gift will have on Telfair’s photography collection,” says Courtney McNeil, Chief Curator & Deputy Director for Curatorial Affairs at Telfair Museums. “The foundation of the museum’s photography collection is one of the country’s largest collections of work by New York street photographer Helen Levitt, and Davidson’s work has many rich thematic parallels to that body of work.”

A Hundred Heroines: female photographers in the spotlight


The Guardian

Following a campaign by the Royal Photographic Society to highlight modern female photographers in a male-dominated profession, a list of a Hundred Heroines was announced on 14 December, 100 years since British women first voted in a general election...

The First Photograph


Harry Ransom Center
The University of Texas at Austin

After developing heliography and the First Photograph, Niépce traveled to England where he showed his invention to botanical illustrator Francis Bauer at the Royal Botanic Gardens, Kew. Bauer recognized the importance of Niépce's work and encouraged him to write about his invention for a presentation to the Royal Society. Although his proposal was rejected, Niépce left his handwritten memoir and his heliograph specimens (including the First Photograph) with Bauer, who dutifully inscribed the gifts, labeled them 1827 (the year of their presentation to him), and set them aside.

During the nineteenth century, the First Photograph passed from Bauer's estate through a variety of hands. After its last public exhibition in 1905, it slipped into obscurity. In 1952, photo-historians Helmut and Alison Gernsheim were able to locate the First Photograph when they were contacted by the widow of Gibbon Pritchard, who had found the Niépce heliograph in her husband's estate after his death. The Gernsheims verified the photograph's authenticity, and obtained it for their collection.

News from the World of Photography: December 2018

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Unearthing Photography’s Time Capsule


The New York Times

In March of 1985, the photographer Robert Frank arrived with a paper sack at the School of the Museum of Fine Arts in Boston to use Polaroid’s 20-by-24-inch camera. It was a hulking beast of an apparatus, worlds away from the diminutive 35-millimeter Leica that had freed him to roam the country while shooting “The Americans,” the 1959 book of photos that crowned him a king of counterculture and the most imitated photographer alive today.

He emptied the bag of salvaged miscellany he’d brought to shoot, jotted a few cryptic words on bits of paper, and then pinned them together with old photos and other ephemera onto timeworn corkboards. In the resulting six-paneled work — “Boston, March 20, 1985” we see the corkboards arranged in grids like signs at an old grocer’s. Few clues reveal Frank’s intentions, but we know that his fellow trailblazing photographers, Robert Heinecken, Dave Heath and John Wood, were somehow involved: The images show scrawled dedications to them.

The four renowned artists were brought together by two photographic historians, Susan E. Cohen and William S. Johnson, who pulled off a curatorial feat that would be unimaginable today. They persuaded Mr. Frank, Mr. Heinecken, Mr. Heath and Mr. Wood to collaborate with them on a project whose contours were hazy at best. And then they persuaded the Polaroid Corporation to finance it...

On View: The Extraordinary Lives and Work of Martine Franck and Inge Morath
 

ProPhoto Daily


“Martine, I want to come and see your contact sheets.”

That was what Henri Cartier-Bresson said when he first met Martin Franck in 1966. The two were married in 1970 (despite a 30-year age difference) and shared a passion for photography. But Franck’s own career as a photographer was overshadowed by that of her husband, one of the founders of the Magnum photo collective. Franck admits she put her husband’s career ahead of her own. It wasn’t always easy.

“A painful example comes from the year in which they were
married, when the Institute of Contemporary Arts in London sent out invitations to what was to be Franck’s first solo exhibition which highlighted her husband’s name and his presence at the launch. She promptly cancelled the show,” notes AnOther.

Now an exhibition at the 
Fondation Henri Cartier-Bresson (through Feb. 10, 2019) shines an overdue spotlight on Franck’s work. The retrospective of 140 images serves also as a debut for the Fondation’s new and expanded space in Paris’s Marais district.

Meanwhile, the work and extraordinary life of pioneering Magnum photographer Inge Morath is celebrated in the new book Inge Morath: An Illustrated Biography...

Beyond the Myth of the War Photographer


The New York Times LENS


The myth of the war photographer is hard to dispel. Infused with machismo, the Hollywood archetype is the hard-living, scarf-wearing loner dashing from one war zone to the next, with romantic partners as expendable as bullets. But clichés ignore the doubts, fears and moral quandaries as well as the loneliness and pain that shadow those who document the depths of human depravity. Such emotional whiplash creates that other cliché — of the tragic, fallen heroes (or heroines) broken by the horrors they’ve witnessed.

The reality of the war photographer is, of course, far more nuanced...

A New Photographic Place Has Just Opened in Paris: La Comète!


The Eye of Photography

La Comète, Books & Photography is a library-gallery opened by PICTO lab.

Like a tribute to his grandfather Pierre Gassmann, mythical figure of French photography in the second half of the 20th century, Philippe Gassmann, current CEO of the PICTO group, chose to call this new venue La Comète, in memory of the first PICTO lab in La Comète street in Paris in the early 1950s.

La Comète is at 29 rue des Récollets in the 10th arrondissement of Paris. For PICTO it is a question of creating a kind of agora where professionals and amateurs will find different services to their needs … Thus, on the first floor of the bookstore is a new fine art photo workshop, where photographers and amateurs can find two forms of services: access to high definition and self-service quality scanners, and assisted inkjet printing with the lab’s expert board.

The artistic direction of La Comète is carried out by The Eyes, in the continuity of its expertise in the field of photo editing. It is a question of stimulating programming of installations, meetings, and workshops in the service of photographers and passionate about images.

Brassaï

SFMOMA
San Francisco, CA
17 November 2018 - 17 February 2019

 

Best known for his provocative and enigmatic images of Parisian life between the two world wars, the photographer Brassaï (born Gyula Halász) is one of the most prominent figures of twentieth-century photography. Called “the eye of Paris” by his friend Henry Miller, Brassaï’s work both celebrates and reveals the complexities and hidden sides of French society and culture.

This thematic survey of his career focuses on his celebrated depictions of 1930s Paris, where he photographed lovers, prostitutes, workers, and gatherings in cafés, bars, and dance halls with an intimate candor that’s still striking today. The exhibition also includes powerful portraits of his artist friends—Pablo Picasso, Salvador Dalí, and Henri Matisse, among others—and the city’s creative avant-garde. Brassaï brings together outstanding prints of the artist’s best work along with many never-before-seen photographs.

Gordon Parks: The New Tide, Early Work 1940–1950


The National Gallery of Art
Washington DC
4 November 2018 - 18 February 2019


 During the 1940s American photographer Gordon Parks (1912–2006) grew from a self-taught photographer making portraits and documenting everyday life in Saint Paul and Chicago to a visionary professional shooting for Ebony, Vogue, Fortune, and Life. For the first time, the formative decade of Parks’s 60-year career is the focus of an exhibition, which brings together 150 photographs and ephemera—including magazines, books, letters, and family pictures. The exhibition will illustrate how Parks’s early experiences at the Farm Security Administration, Office of War Information, and Standard Oil (New Jersey) as well as his close relationships with Roy Stryker, Langston Hughes, Richard Wright, and Ralph Ellison, helped shape his groundbreaking style. A fully illustrated catalog, with extensive new research and previously unpublished images, will accompany the exhibition.
 

Leonard Freed: Worldview


Jewish Museum of Belgium
Bruxelles, Belgium
18 October 2018 - 17 March 2019


Leonard Freed (1929-2006) is one of the most important reporters of the twentieth century. His photographs taken in the United States, Europe and the Middle East have made the front pages of many newspapers. Member of the famous Magnum agency, he is part of the great tradition of photographic reporting. Freed is one of the most famous representatives of concerned photography.

The retrospective, created by the Musée de l'Elysée in collaboration with Magnum Photos, Paris and the Fotomuseum in The Hague, traces the career of a man who lives by and for photography. In addressing the major events of the past fifty years - including the Israeli-Palestinian conflict, the civil rights movement in the United States, post-war Germany and the Romanian revolution - Freed takes a penetrating and caring look at individuals inseparable from their environment. 

Nobuyoshi Araki: Integral Photo Lesson


The Eye of Photography

“Photograph with kindness, look with kindness, light with kindness”

For the first time, in these interviews where he comments one after the other 336 photographs covering his work from 1963 to 2010, the most famous contemporary Japanese photographer, Nobuyoshi Araki, tells his conception of his work and his many influences, from Eugène Atget to Yousuf Karsh or Robert Frank.

For Araki, “to live is to photograph”. In an approach that will pave the way for Nan Goldin and Sophie Calle, he claims the notion of photographic autofiction and documents his life often in its most intimate aspects such as his honeymoon or the untimely death of his wife.

For him  “documentary is a series of looks, followed by a discovery and an emotion” he reveals that “there is always an emotional connection” with his subject. “Taking photos is a face-to-face”.

Through a series of anecdotes mixing a lot of fun, a disarming frankness and an often poignant emotion, the artist remembers with remarkable precision the circumstances surrounding the taking of his photos. Inventor of the word “Erotos”, he says that the meeting of Eros and Thanatos has been his main focus all his life, since his children’s games in the prostitutes cemetery of Yoshiwara...


International Center of Photography
Caixa Forum Lleida
Lleida, Spain
27 September 2018 – 27 January 2019

 

This exhibition presents Robert Capa’'s color work for the first time. Capa regularly used color film from the 1940s until his death in 1954. Some of these photographs were published in magazines of the day, but the majority have never been printed, seen, or even studied. Over the years, this aspect of Capa’s career has virtually been forgotten. With over 100 contemporary color prints by the famous photojournalist, Capa in Color presents this work an integral part of his post-war career and fundamental in remaining relevant to magazines.

Capa in Color will explore how he started to see anew with color film and how his work adapted to a new postwar sensibility. The new medium required him to readjust to color compositions, but also to a postwar audience, interested in being entertained and transported to new places.

The exhibition is drawn entirely from the Robert Capa Archive in ICP’s permanent collection. The Archive contains roughly 4,200 color transparencies - 35mm Kodachrome, 21⁄4 Ektachrome, and some larger Kodachrome sheet film. It also includes thousands of vintage black-and-white prints, negatives, tearsheets, and papers.

Ansel Adams in Our Time


Museum of Fine Arts Boston
Boston, MA
13 December 2018 – 24 February 2019


Ansel Adams in Our Time traces the iconic visual legacy of Ansel Adams (1902–1984), presenting some of his most celebrated prints, from a symphonic view of snow-dusted peaks in The Tetons and Snake River, Grand Teton National Park, Wyoming (1942) to an aerial shot of a knotted roadway in Freeway Interchange, Los Angeles (1967). The exhibition looks both backward and forward in time: his black-and-white photographs are displayed alongside prints by several of the 19th-century government survey photographers who greatly influenced Adams, as well as work by contemporary artists whose modern-day concerns centered on the environment, land rights, and the use and misuse of natural resources point directly to Adams’ legacy.

Adams’ stunning images were last on view at the MFA in a major exhibition in 2005; this new, even larger presentation places his work in the context of the 21st century, with all that implies about the role photography has played—and continues to play—in our changing perceptions of the land. The Adams photographs in the exhibition are drawn from the Lane Collection, one of the largest and most significant gifts in MFA history.

News from the World of Photography: November 2018

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Guns and poses: Deutsche Börse photography prize shortlist revealed


The Guardian

This year’s Deutsche Borse photography prize shortlist is a considered choice of four artists whose approaches draw on documentary, archival appropriation and conceptualism. They are: Susan Meiselas for her retrospective exhibition, Mediations; Laia Abril for her deeply-researched book, On Abortion; Arwed Messmer for his archival exhibition, RAF: No Evidence and Mark Ruwedel for his show, The Artist and Society.

This photographer wanted to humanize Ellis Island’s immigrants. His images are still powerful.


The Washington Post
 
To the new arrivals at Ellis Island in the early 1900s, the thin bespectacled man waving them down seemed to be a part of the immigration process.

They had spent weeks crossing the Atlantic Ocean in hopes of becoming Americans, and now that they had disembarked from the crowded ships, they hoped there were only a few steps remaining.

After being herded into an immense brick building, the crowds of newcomers were directed this way and that, told to sit, stand, open their luggage and, for a select few, found themselves cornered by Lewis Hine, a man toting a heavy, boxlike camera on a rickety tripod.

Usually, Hine did not speak their language. He motioned to them what he wanted to do. They waited anxiously while he set up the camera, and then the machine emitted a resounding bang. Sparks flew. Thick smoke filled the air. When it cleared, the immigrants were sent on to the next step — likely never knowing they had just become a part of one man’s project to make the country more welcoming toward them...

Roger Fenton's Photographs of the Crimea


The Queen's Gallery, Buckingham Palace
London, UK
Until 28 April 2019

 

This is the first exhibition to focus exclusively on Roger Fenton's pioneering photographs of the Crimean War, taken in 1855. Fenton was already an accomplished and respected photographer when he was sent by the publishers Agnew's to photograph a war that pitched Britain, France and Turkey as allies against Russia.  Arriving several months after the major battles were fought in 1854, Fenton focused on creating moving portraits of the troops, as well as capturing the stark, empty battlefields on which so many lost their lives. 

Published in contemporary newspaper reports, Fenton's photographs showed the impact of war to the general public for the first time.  Through his often subtle and poetic interpretations Fenton created the genre of war photography, showing his extraordinary genius in capturing the futility of war.

Time Travel Back to 1970s L.A. with These Vintage Photos


Los Angeles Magazine

 Thinking of ’70s L.A. now probably brings to mind the golden days of Laurel Canyon, antics on the Sunset Strip, or maybe a few New Age cults. But a new group show at Joseph Bellows Gallery peels away some of those layers of nostalgia to show images of how the region looked to photographers as they lived it.

Work in the show comes from photographers Bevan Davies, Philip Melnick, John Humble, Grant Mudford, Terry Wild, and Ave Pildas. The images selected from each artist capture small moments of how the city looked at the time. Some of the locations are still recognizable now, others have evolved more visibly in the ensuing decades...

 

Arbus, Untitled and Unearthly


The New York Times

Beginning in 1969 and continuing through the last two years of her life, Diane Arbus traveled regularly by bus to New Jersey to photograph people at residences for the developmentally and intellectually disabled. Her first destination, the coeducational Woodbridge State School, was just across the Hudson from her Manhattan apartment. Quite soon, though, she determined that an all-female institution in Vineland, in the southern part of the state, provided richer opportunities.

The photographs in the “Untitled” series, at the David Zwirner gallery through Dec. 15, are mostly taken in Vineland. Departing significantly from the work that built Arbus's reputation, they include some of the most mysterious and haunting pictures of her 15-year artistic career.

The “Untitled” exhibition is the first in Zwirner’s new partnership with the Fraenkel Gallery of San Francisco to co-represent the Arbus estate. Rather than start with her iconic portraits of sideshow freaks, cross-dressers, pro-Vietnam war demonstrators and nudists, the New York gallery opted to show this less familiar, late work, which until now has never been seen in its entirety...

V&A's impressive new Photography Centre opens with major commissions and month-long photography spotlight


Creative Boom

The world’s first photographic experiments and earliest cameras; works by pioneering female photographers, Julia Margaret Cameron, Agnes Warburg, Madame Yevonde and Cindy Sherman; pictures by 20th-century greats Alfred Stieglitz, Walker Evans, Berenice Abbott, Brassaï, Cecil Beaton and Irving Penn, and contemporary works by Martin Parr, Sian Bonnell, Mary McCartney, Peter Funch, Cornelia Parker and Hiroshi Sugimoto.

This is just some of what to expect at the V&A’s impressive new Photography Centre, which spans four new galleries, more than doubling the museum’s space dedicated to photography...


The New York Times

Quentin Bajac, the chief curator of photography at the Museum of Modern Art, will return to his native Paris to become director of the Jeu de Paume, France’s national photography museum.

Mr. Bajac has served as MoMA’s photography chief since January 2013, only the fifth person to hold the post since its creation in 1940. In New York, he organized a large retrospective of the American photographer Stephen Shore, as well as a century-spanning history of studio photography and an edition of MoMA’s “New Photography” series. He also was co-curator of an acclaimed revisionist presentation of MoMA’s permanent collection at the Fondation Louis Vuitton in Paris in 2017.

Before coming to MoMA, Mr. Bajac served as a photography curator at the Musée d’Orsay in Paris, then as chief curator of photography at the Centre Georges Pompidou.

Louis Stettner: Traveling Light


SF MOMA
San Francisco, CA
27 October 2018 - 27 May 2019 


Over the course of his eight-decade career, Louis Stettner created a singular approach to photographing everyday life. Born in Brooklyn in 1922, Stettner began working as a photographer in the 1930s and served in the U.S. Army in World War II before moving to Paris in 1947. There, he studied at the Institut des Hautes Études Cinématographiques, became friends with the influential photographer Brassaï (whose work will be on view on Floor 3 from November 17, 2018–February 18, 2019), and developed a unique point of view that melded the boldness of American street photography with the softer humanism more characteristic of his Paris contemporaries. For the rest of his life, he traveled between New York and Paris — his “two loves,” as he called them — constantly finding new inspiration in that geographical duality. From thoughtful images of rush-hour commuters to tranquil observations of daily routines, this thematic retrospective displays the remarkable breadth of Stettner’s work.

A New Home for the Fondation Henri Cartier-Bresson in Paris


The New York Times

Henri Cartier-Bresson was a photojournalism pioneer, a man whose wartime images of Europe and portraits of personalities like Albert Camus and Samuel Beckett have become 20th-century classics.

Yet he never allowed himself to be photographed, and he never appeared on television.

“It meant that his face wasn’t widely
recognizable, and that he could blend in everywhere he went, without people knowing it was him,” said Agnès Sire, artistic director of the Fondation Henri Cartier-Bresson in Paris, which was established in 2003.

One of his only known self-portraits, taken on a trip to Siena, Italy, is a view of his extended right leg, in trousers, with a winding road in the background. The so-called self-portrait was taken “as he was lying on a wall,” Ms. Sire said.

“The subject is completely banal: That’s what’s interesting about it,” she continued. “It’s a private moment — not a moment where you’re posing for a double-page spread in Paris Match magazine.”

The Siena picture is one of about 50,000 original prints that have moved from Montparnasse, on the Left Bank of Paris, to the foundation’s new and bigger home on the Right Bank, in the fashionable Marais district. More than 200,000 negatives and contact sheets have also been relocated...

Contact Warhol: Photography Without End


Cantor Arts Center, Stanford University
Stanford, CA
29 September 2018 - 6 January 2019

 

Photographs by Andy Warhol that have never before been displayed publicly are at the heart of the exhibition Contact Warhol: Photography Without End, which draws on a trove of over 130,000 photographic exposures that the Cantor Arts Center acquired from the Andy Warhol Foundation for the Visual Arts in 2014. The collection of 3,600 contact sheets and corresponding negatives represent the complete range of Warhol’s black-and-white photographic practice from 1976 until his unexpected death in 1987.

The exhibition brings to life Warhol’s many interactions with the social and celebrity elite of his time with portraits of stars such as Michael Jackson, Liza Minnelli, and Dolly Parton; younger sensations in the art world such as Keith Haring and Jean-Michel Basquiat; and political stars, including Nancy Reagan, Maria Shriver, and Arnold Schwarzenegger. Contact Warhol, curated by Stanford Professors Richard Meyer and Peggy Phelan, traces Warhol’s photography from the most fundamental level of the contact sheet to the most fully developed silkscreen paintings. 

Terror in focus: the Jewish photographer who captured the rise of Nazism


The Guardian

In 1920, Roman Vishniac and his new bride Luta arrived in Berlin. Having fled the turmoil of post-revolutionary Moscow, the couple had hastily been married by a station master in a Latvian border town, before traveling to Riga and on to the German capital. There, Vishniac was reunited with his wealthy parents, who had left Russia three years earlier, and he and Luta were married again in a register office before their union was blessed by a traditional Jewish ceremony. So began their new life in a city that an excited Vishniac described as “a living whole … the centre of western Europe”.

The story of their flight is emblematic of Vishniac’s extraordinary life, which was lived out, in part, against Europe’s turbulent early-to-mid 20th-century history. As a child he had experimented with scientific photography, attaching a microscope to a camera in order to produce magnified images of insects and plants. Having gone on to train as a biologist, he found work hard to come by in Berlin. Intrigued by the cosmopolitan nature of the city, he became a keen amateur photographer, strolling the city night and day with a Rolleiflex camera dangling from his neck...

A National Gallery show examines Gordon Parks’s early years


The Washington Post 


He was the youngest of his father’s 15 children. He wrote in his high school yearbook that he wanted to be “a general or a Jazz Sheik.”

Gordon Parks fell short of those goals, but in the process of failing, he became a poet, novelist and memoirist; the inventor of a new genre of film; a pianist, composer and librettist; and one of the greatest photographers of the 20th century. How did this happen?

If you love an artist’s mature work, his or her early work is almost always riveting. The drama is innate: How did it come to be? What were the breakthroughs? Who and what helped? What explains it?

“Gordon Parks: The New Tide, Early Work 1940-1950,” at the National Gallery of Art, sets out to answer these questions. But just as Parks himself got diverted on his way to becoming a “Jazz Sheik,” the curator, Philip Brookman, gets waylaid, and instead of rooting around in juvenilia, finds himself presenting a show with the force and cogency of a full-blown retrospective...


The New York Times Magazine

Robert Adams’s succinct preface to his 2010 book of photographs “What Can We Believe Where?” begins with uplift: “In common with many photographers,” he writes, “I began making pictures because I wanted to record what supports hope: the untranslatable mystery and beauty of the world.” Adams’s aim was true. Look at one of his photographs and you’ll see a record of mystery and beauty. The photographic elements are simple. Bright sunlight, generally; crisp shadow; the occasional moody nocturne. We feel as if we are being taught to see with a visual primer. Better yet, turn the pages of one of his books (he has made more than 50) or walk around an exhibition of his work, inhabiting the flow of his decisions. You are likely to feel your breath getting calmer and your senses quietened...

The Eye of Photography
 
“In the heart of the Sudan, and to the west of the White Nile, there is a strange and unreal land which the hand of time has hardly touched in passing.” – George Rodger

From 1939-47 Magnum photographer George Rodger covered some of the most violent atrocities of the second world war: from the brutality of the Burma campaign to horrific piles of corpses at the Bergen-Belsen concentration camp.

In 1948, in search of something less barbaric, Rodger arranged to document indigenous people of the Nuba mountains, in the former central Sudanese province of Kordofan, and the Latuka and other tribes of southern Sudan. In doing so, he created some of the most historically important and influential images taken in sub-Saharan Africa during the twentieth century.

Southern Sudan is released to coincide with an exhibition of the same name at David Hill Gallery, London, opening on 2nd November until 25th January.

‘George Rodger belongs to the great tradition of explorers and adventurers. His work is a moving testimony through time and space.’ Henri Cartier-Bresson

Hyperallergic

Time may just be an illusion, yet humans have the need to mark time in order to make sense of our lives. In "Time Frames: Contemporary East Asian Photography" at the Baltimore Museum of Art, works by contemporary East Asian photographers explore time through both subject matter and creative processes, as the artists grapple with their cultural and personal histories.

The exhibition highlights around 40 photographic works by Asian American artists and artists from Vietnam, Korea, Japan, and China that are rarely seen in the US. The photographs represent five ways that the featured artists have engaged with the concept of time: through individual and collective experience, reflection, duration and labor, progress and place, and displacement...

The British Journal of Photography

So far the wildfires in California have claimed the lives of 94 people and laid waste to 1,667,855 acres of land this year. And, according to Dutch paper NRC Handelsblad, they’ve also consumed a world-renown library of photobooks, put together over the last six years by Dutch collector Manfred Heiting.

Based at Cutberth Road, Malibu, Heiting’s collection included vintage photographs, posters, ceramics and art deco furniture – and at least 36,000 photobooks. Residents in this area were told to evacuate a week ago, and the coastal town is now “a war zone”, Heiting told NRC Handelsblad. At the time of the report on 20 November, Heiting has not yet been given the green light to visit his house but he stated that: “On satellite photos I can see that everything in my neighborhood has disappeared. Two or three houses may have survived. The rest was pulverized in a ten-minute fire storm.”

Once a director of Polaroid’s international division, Heiting started collecting photography in the 1970s, when he focused on gathering prints. In 2002 he sold this collection to the Museum of Fine Arts in Houston, and started to focus on photobooks. His collection was considered one of the most complete in the world, including a copy of most of the important photobooks that appeared from 1888-1970 in Europe, the United States, the Soviet Union, and Japan.

Heiting’s expertise and collection were used in a series of compendiums published recently by Steidl – including The Soviet Photobook 1920-1941, The Japanese Photobook 1912-1980, and Czech and Slovak Photo Publications 1918-1998. He also worked on a website to make his archive more widely accessible, and used it in his lectures at the University of California.

According to NRC Handelsblad, the loss of Heiting’s collection is not just his loss, because he had recently donated his library to the Museum of Fine Arts in Houston. A few thousand books had already been transferred, but the rest was to stay with Heiting until 2023, for use in his research and publications. “The responsible curators were still visiting me at the beginning of October to make a definitive choice,” Heiting reportedly said. “It is terribly disappointing. For us all.”

“It is not easy now to put this loss away,” he adds. “But I have to close it soon. The collection will not come back.”