#dutch portrait prize photography

[whencyclopedia]

Discovery of X-Rays

The discovery of X-rays – a form of invisible radiation that can pass through objects, including human tissue – revolutionised science and medicine in the late 19th century. Wilhelm Conrad Röntgen (1845-1923), a German scientist, discovered X-rays or Röntgen rays in November 1895. He was awarded the first Nobel Prize for Physics for this discovery in 1901.

The thrill of the discovery became caught up in the late Victorian obsession with ghosts and photography. X-rays could 'photograph' the invisible, penetrating flesh, exposing bones and the human skeleton. 'Bone portraits' became popular, and photographers opened studios for a public fascinated by otherworldly images of skeletons.

Wilhelm Conrad Röntgen

Wellcome Collection (CC BY)

One of the first medical uses of X-rays occurred in 1896 when John Francis Hall-Edwards (1858-1926), a British doctor, located a needle embedded in a colleague's hand. X-ray technology soon moved from being seen as a new form of photography to a modern diagnostic tool used by hospitals and medical practitioners.

Wilhelm Conrad Röntgen was a meticulous scientist, but the discovery of X-rays may have been an unintentional result of his work with cathode rays in his Würzburg laboratory in Bavaria, Germany.

Early Years

Wilhelm Conrad Röntgen was born in Lennep, Prussia (Remscheid-Lennep, Germany) on 27 March 1845, to a German textile merchant father and a Dutch mother. He was an only child and spent his early years in Apeldoorn in the Netherlands. His father, Friedrich Conrad Röntgen (1801-1884), managed a cloth manufacturing business in Apeldoorn. The family had also moved due to political unrest in Prussia.

Röntgen attended the Utrecht Technical School from 1861 to 1863 but was expelled when a fellow student drew a caricature of a teacher. Röntgen was implicated but refused to name the student responsible. Despite excellent marks, he did not graduate with a technical diploma and could not obtain a degree in the Netherlands. He was accepted by the Mechanical Technical Division of the Federal Polytechnic School in Switzerland in 1865, where he gained a diploma in mechanical engineering and, in 1869, a PhD in physics with his thesis Studies on Gases.

The German experimental physicist August Kundt (1839-1894) was Röntgen's supervisor. In 1866, Kundt designed the Kundt Tube, a glass apparatus that measured the speed of sound in gases. Kundt significantly influenced Röntgen and his research career.

Röntgen followed Kundt to the University of Würzburg in 1870, where he worked as an unpaid assistant during a time of rapid advancements in experimental physics. Scottish mathematician James Clerk Maxwell (1831-1879) was researching electromagnetic radiation and established the connection between light and electromagnetic radiation. Maxwell also took the first colour photograph in 1861, based on his three-colour theory that the human eye sees colour through a combination of blue, red, and green light. Massachusetts-born Samuel Morse (1791-1872) developed the electric telegraph, which transmitted messages over long distances, and Morse code to encode messages, while Alexander Graham Bell (1847-1922) invented the telephone.

Of particular interest to Röntgen was the work of German physicist Heinrich Hertz (1857-1894) and British chemist William Crookes (1832-1919). Both scientists studied cathode rays – invisible streams of electrons whose behaviour can be observed when an electrical current is passed between the two electrodes (cathode and anode) in a glass vacuum tube. It is called a cathode ray because the electrons are emitted from the cathode (or negative electrode) when an electrical current heats it, and the electron stream glows. Johann Wilhelm Hittorf (1824-1914) was the first to detect cathode rays glowing green in the glass wall of a vacuum tube in 1869 but did not realise that X-rays had been produced during his experiments.

Röntgen became fascinated with the fluorescence caused by cathode rays hitting certain materials, such as salts like barium platinocyanide, which glow a greenish-yellow colour when exposed to cathode rays. It was this fascination that led to the discovery of X-rays.

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[ardn631matthewrimamate2024]

Photographer: Hendrik Kersten

Hendrik Kerstens is a Dutch photographer who, since 1995, has been photographing his daughter Paula. He was born in 1956 in the Hague, the Netherlands and is a self-taught artist. He began a series of photographing his daughter’s life, initially capturing her in everyday poses and attire, documenting intimate moments where she appears looking pensive in a swimsuit, or clutching herself after a bad sunburn. Kerstens gradually expanded his practice to create carefully composed portraits that playfully refer to the works of the Dutch Old Masters and the Italian Renaissance. These images use everyday items as props, such as a dishtowel or cream standing in for a maiden’s cloth and wig, and still rely on Paula as his primary subject. His photography was awarded a Taylor Wessing Photographic Prize from the National Portrait Gallery in London in 2008, and has been shown in Europe, Latin America, and the United States. He was given his first solo exhibition in the United States at the Museum for the City of New York in 2009, and he has since been commissioned for several covers of New York Times Magazine. He lives in Amsterdam, the Netherlands.

[xtruss]

In the Netherlands, Alex ten Napel makes miniature runways in barns and backyards to capture the essence of chickens such as this Polish rooster. “I consider them walking pieces of art,” he says.

See These Chickens Go From Coop To Catwalk

Fancy, feathered, and fascinating, these birds surprised portrait photographer Alex ten Napel with their beauty and charisma.

— By Jason Bittel | Photographs By Alex Napel | January 6, 2023

A chicken “is not just an animal that gives us eggs,” says Alex ten Napel, who’s been roaming his home country of the Netherlands in search of farm fowl since 2014. Taking inspiration from Melchior d’Hondecoeter, a 17th-century Dutch artist known for his work with birds, ten Napel uses lighting, backdrops, and an elevated, catwalk-like stage to bring chickens out of the coop and into an entirely new context.

Top: A Twentse rooster takes his turn on the runway. While breeders prioritize conformation, ten Napel prizes character. Bottom: The Brabanter breed has been associated with the Netherlands since Dutch artist Melchior d’Hondecoeter depicted some of the birds in 1676.

“What I hope you see in the photos is that chickens can be proud beings or funny beings,” he says. “They can be like gymnasts or ballerinas. Not what most people think of when you talk about chickens.”

Left: It may seem as if this Polish hen is missing a face, but she’s simply shying away from the camera. Right: Like a singer belting out a show tune, this Dutch bantam rooster uses his time in the spotlight to crow.

Compared with people, chickens like the Polish hen above are quite patient models, ten Napel says.

Left: Polish roosters and other showy chickens are bred for competition, not consumption. Right: Scientists think humans first domesticated chickens between 7,000 and 10,000 years ago. Pictured here, a Polish hen.

While each animal has different characteristics, ten Napel has noticed the emergence of some patterns throughout his travels. Roosters, or male chickens, tend to be large, visually striking, and imposing, he says. But it’s the females ten Napel finds himself drawn toward. “I have a heart for the hens. They’re so vulnerable,” he says. “They move me in a way that I want to protect them.”

Left: Appearing to sport a ceremonial headdress, a Polish rooster stands tall for his portrait. Right: Show chickens, such as this Polish hen, are bred for their external attributes, including color patterns and feather shapes.

Left: Ten Napel first came face-to-face with a chicken while he was camping in the Pyrenees Mountains about 10 years ago. He felt an immediate connection to the species, which then became his main photographic muse. Pictured here, a Polish chicken. Right: The European Association of Poultry, Pigeon, Cage Bird, Rabbit, and Cavy Breeders recognizes more than a hundred breeds of chickens, from the Polish (shown here) to the Brabanter and the Dutch bantam.

A specialist in portrait photography, ten Napel focused on people—usually children and older adults—for 25 years. The chickens, he says, have reignited his passion for this type of photography. “I can’t direct them. I have to be patient and feel how they will show themselves,” he adds. “Everything they give you is a gift.”

On his bird-friendly runway, ten Napel coaxes a model to strut its stuff for the camera.

Though ten Napel has occasionally tried to train his lens on other subjects since falling for fowl, nothing else seems to capture his interest so completely. “This year I went back to the breeders,” he says, “and I’m shooting the next series until, well, I can’t photograph anymore.”

[jitskeschols]

(via WINNER DUTCH PHOTOGRAPHIC PORTRAIT PRIZE 2016)

[chrismalcolmhnd1d]

New Photographer

Anton Corbijn – Photographer

Background

Anton Corbijn is a famous Dutch photographer, mainly known for his portraiture work, primarily with bands, over the last thirty years.

One of four children, Corbijn was born in 1955 in The Netherlands and is the son of a parson and a nurse.

Corbijn began his career as a music photographer when he saw the Dutch musician Herman Brood playing in a café in Groningen around 1975.

From the late 1970’s, New Musical Express (NME), featured his work on a regular basis, often using one of his images on the front page, including a portrait of David Bowie wearing a loincloth backstage in New York when starring in The Elephant Man. Corbijn was also a regular contributor to The Face, a glossy monthly post-punk life style / music magazine and made his name photographing in black and white.

David Bowie, The Elephant Man, 1980

Morrissey, The Smiths, 1990

Corbijn’s work

Corbijn has photographed Bob Dylan, Depeche Mode, Tom Waits, Bruce Springsteen, Miles Davis, Björk, Robert De Niro, Siouxsie and the Banshees, Morrissey, Simple Minds, Clint Eastwood, Annie Lennox, and the Eurythmics, amongst others.

Perhaps his most famous and longest standing association is with U2, which includes pictures of the band on their first US tour, taking pictures for their albums The Joshua Tree and Achtung Baby.

Some examples of Corbijn’s work

Nick Cave – 1996

This image is a very stark, serious and moody black and white portrait of the Australian rock star, Nick Cave. The subject is reasonably formal with a shirt and smart coat on and he is standing in front of a wall that has leading lines taking your view back towards the subject’s eyes that are looking intently to the left of the frame.

Keith Richards – 1980

The image is a candid, editorial portrait of Keith Richards from the Rolling Stones. The use of black and white adds to the drama and shows the subject exhaling smoke while looking directly at the viewer as if in defiance. The pose is natural, uncompromising and informal and the low-key lighting shows the deep lines and shadows on the subject’s face.

U2 – Death Valley – 1987

This image is of the Irish rock band U2 and was used for their 1988 album, “The Joshua Tree” as the cover. The shot is very posed with three members of the band looking directly at the viewer while Bono, the lead singer, gazes to the left of the frame as if deep in thought. The composition of the image helps show the vastness of the landscape, occupying over half the frame, while the band occupy the remaining space on the left of the frame.

Henry Rollins – 1994

This portrait shows American actor, musician, comedian and media host, Henry Rollins. The image is both dramatic and alarming as the subject appears to be screaming directly at the viewer. The low-key lighting adds to the drama and accentuates the lines in his face and tendons in his neck. It’s a serious shot and the viewer is left somewhat confused by the reason for the subject’s anger.

Clint Eastwood – 1994

This image is of the American actor/director, Clint Eastwood. The use of black and white adds to the serious mood of this image and Eastwood’s finger pointing at the viewer is reminiscent of the publicity shot for his earlier movie, Magnum, where his finger is replaced by a gun.

Tom Waits – 2004

This image is of American musician Tom Waits. Leading lines take our eye along the bright sunshine on the railway tracks and our eye is drawn to the bright light behind Wait’s head and the white light bouncing back from the drum he is sitting on. The use of high contrast black and white add to the timelessness feel of the image.

Depeche Mode – 1993

This image of English synth/rock band, Depeche Mode shows the band is sombre mood. As with the earlier shot of U2, the lead singer looks away out of the left of the frame, following the rule of gaze while the remaining band members looking directly at the viewer. The background is reasonably non-descript and adds to the gritty black and white image.

Jonny Cash – 1994

This shot is of the American musician Jonny Cash and is a good example of reportage/pseudo paparazzi as the subject is looking out the car window, apparently oblivious to the photographer.

Film and video direction

Corbijn began his music video directing career when early eighties German band Palais Schaumburg, asked him to direct their video. After seeing the resulting video, the band Propaganda hired Corbijn direct the video for their track “Dr. Mabuse”. Subsequently he directed videos for David Sylvian, Echo & the Bunnymen, Depeche Mode, Roxette and U2. His first video in colour was made for U2 in 1984 for their single "Pride".

In 1994 Corbijn directed a short film about Captain Beefheart for the BBC called “Some Yoyo Stuff”. He made his feature film debut with “Control”, a film about the life of Joy Division frontman Ian Curtis. It premiered to critical acclaim at the Cannes Film Festival on 17 May 2007. “Control” was the big winner of the Director's Fortnight winning the CICAE Art & Essai prize for best film and also won the Michael Powell award for best new British feature at the Edinburgh International Film Festival.

Control - 2007

Summary

Anton Corbijn’s photography, film direction and subsequent exhibitions have been extremely successful and in Europe, his work can be seen in museums and galleries alike as well as in 15 published books. In addition, his work can be seen on over 100 album covers. In 2011, he was awarded the highest Dutch Cultural Award, the ‘Prince Bernhard Cultuurfonds Prijs’, for his contribution and influence in the world of the arts.

[yahoonewsphotos]

'Upstate': Tema Stauffer's portrait of a post-industrial city along the Hudson River

Combining poetic landscapes and interiors with portraiture, American fine art photographer Tema Stauffer explores the visually and historically complex community, culture and architecture of one of the oldest regions in America in her new monograph, “Upstate” (Daylight Books, October 2018). The city of Hudson, on the shores of the upper Hudson River, was the first American city to be chartered after the American Revolution. Incorporated in 1785 to honor Dutch explorer Henry Hudson, it developed rapidly as a thriving whaling and merchant seaport.

After an economic downturn in the early 19th century, Hudson’s economy rose during the middle of the century thanks to heavy industries such as iron factories and mills. The Hudson River School — a mid-19th century art movement embodied by a group of landscape painters that included Thomas Cole and Frederic Edwin Church — portrayed the natural beauty of pastoral landscape in the Hudson Valley and themes of discovery, exploration and settlement.

In the 20th century, Hudson’s economy suffered during the Great Depression, and factories closed and manufacturing jobs lost. In recent decades, Hudson has experienced new economic growth, revitalization and transformation as a result of the arrival of newcomers from larger cities.

Stauffer’s “Upstate” photographs, shot on color film and exquisitely bathed in natural light, lyrically depict ordinary houses, front porches, decaying barns, ruined factories, parked cars, winter branches and evocative landscapes, along with compelling portraits of local residents. Some of her photographs reveal a melancholic atmosphere that permeates the Hudson Valley, where the past still resonates. Others evoke a quiet beauty and mystery emanating from the architecture and artifacts reflecting the industrial era, the rural setting of upstate New York and the shifting economic conditions over time.

In many ways, the ups and downs of Hudson’s cultural and economic landscape reflect the experiences of dozens of other post-industrial cities all across America.

Tema Stauffer is a photographer whose work examines the social, economic and cultural landscape of American spaces. Her work has been exhibited at Sasha Wolf and Daniel Cooney galleries in New York as well as at international galleries and institutions including the Smithsonian National Portrait Gallery. Her work has been included in numerous print and online publications, including the New York Times, the Chicago Reader and the Village Voice. In 2010, she was awarded an AOL "25 for 25" grant for innovation in the arts for her work as an artist, curator and writer. She received third prize in the Photo Review Competition 2012 and was a finalist for the Outwin Boochever Portrait Competition 2013. She was also the recipient of the 2012 Women in Photography - LTI/Lightside Individual Project Grant and a 2014 CCNY Darkroom Residency for her documentary portrait series “Paterson,” depicting residents of Paterson, N.J., during the years following the economic crisis. She received her BA from Oberlin College and her master's degree in photography from the University of Illinois at Chicago. Stauffer is an assistant professor of photography at East Tennessee State University.

There will be an “Upstate” book signing and reading Oct. 24 at Reece Museum at East Tennessee State University.  The exhibition runs Oct. 22-Dec. 14.

Photography © Tema Stauffer from the book Upstate published by Daylight Books

See more photos of Tema Stauffer’s Upstate and our other slideshows on Yahoo News.

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[gilles-blaise-westminster]

Photography in London - Week 4

- Taylor Wessing Prize, National Portrait Gallery 

Hashem El Madani, Abed, a tailor (1948-1953)

    1. Would you say this is a portrait or not?

Yes, this photograph is a portrait. It clearly shows this person, Abed, posing for the photographer. His hairstyle, posture, clothing and environment say a lot about who he is as a person.

    2. Describe de composition of the image.

The picture depicts a man, kind of off-centered, looking straight into the camera. He wears a plaid jacket and has an interesting hairdo. He sits close to a round thing on the bottom of the picture, but we don’t really know what that thing is. It might be a table.

    3. How have light and colour been used and what effect does this have?

The lighting is very straightforward, putting the emphasis on the model himself and his pose. It creates sort of a halo around him, making him the star of this photograph. His dark hair contrasts harshly with the soft light around him. The use of black and white makes the whole image look dated but ageless at the same time. The attitude that comes off makes me imagine his jacket as very colourful.

    4. How have focus been used and what effect does this have?

In this picture, there is no real use of depth, and consequently of focus. The background is plain white, but where the photograph lacks in depth, it makes up with the lighting.

    5. What does the pose/posture of the person depicted convey about him/her?

His pose feels very powerful. He seems like he is a very confident man because of the way he looks straight into the camera but also because he might be wearing a very loud print, which screams confidence.

    6. What is the background, middle-distance and foreground?

As mentioned beforehand, there is no real sense of depth here. The background is simply plain white, the model sits in middle distance and there is no real foreground, except maybe the table. His pose could lead us to imagine a foreground: he seems like he is leaning a little toward the camera, so his arms are closer to the camera than his chest and head, creating sort of a foreground. The lack of a background puts the emphasis on the model himself.

    7. What is the mood of the photograph? What creates this mood?

I really like this picture. The mood has already been described above: it is a very powerful, confident picture. This feeling is created by the lack of a background and the real focus on the model, his pose, the composition of the image, the lighting and the black and white.

Reme Campos, Trans(ition) Love. Elio and Luci (2018)

This is the first picture I chose when we visited the exhibition. I really love it. Spanish photographer Reme Campos photographs teenagers who identify as transgender. What I love the most about this picture is that it does not feel staged. It looks like a real snapshot in the life of these teenagers.

In the description, they describe how the photographer does not direct the models, but that they choose how they want the world to portray them. In terms of composition, lighting and colours, this picture seems very regular, which is how they want the world to see them. The most interesting part of the photo is then the story behind it, a story describing the hard path that is the one of a young trans person.

Reme Campos managed to show who they really are and how they really want to be seen through a simple, beautiful photograph. This is why I’ve chosen that picture.

Enda Bowe, Ron (2018)

This is the second photograph I chose. This is the one that made me want to know more the most. In this photograph, Bowe captures the lost gaze of Ron, an old man who lives in East London. As the description says, he is housebound and misses his wife who died twenty years ago.

The colouring is, for me, the most striking part of the image. It really makes me think of Dutch painters, such as Vermeer or Rembrandt. The softness of the reds, the pinks and the peaches are incredible. We really feel for this old man, as if his mood really came through the colours. The description says that even if his situation is not easy, he keeps his spirit of optimism in his daily life. Indeed, the colours are not sad but rather warm, inviting.

There is a real contrast between the colours and Ron’s face: where the former conveys warmth, the latter shows profound sadness. He looks toward the lights, probably coming from behind the curtains, from the outside. His gaze could be interpreted as metaphorical for him desiring to go to that light, representative of Heaven, to be reunited with his wife.

All the feelings the three of our group got when looking at this picture made us choose it as the winner.

Mayotte Magnus, Judi Dench (1977)

This photograph by Mayotte Magnus really inspired me to create my own portrait. It shows actress Judi Dench, smiling over a wall. I thought I really liked the concept, having someone against a wall. It is like a one person against something built up by so many pieces, a contrast between an individual and a multitude. What I really like is that the individual is seen as “one” entity, but we all know we are not one thing only. What we see as one is a myriad of feelings, memories, thoughts, etc., fitting in perfectly with the brick wall.

She is also mirrored with the statue as their hairstyles are very similar.

This is the photograph I have produced. It shows a friend of mine from Australia, photographed against a wall covered of graffiti and art of all sorts. This for me is very much inspired by Magnus’ Judy Dench, as she is standing as one individual in front of this brick wall. The brick wall has even more meaning than on Magnus’ photograph, as it is a multitude of bricks but also of art, of ideas painted or printed by those who came before and felt like they had something to say. Again: an individual in front of a multitude, and altogether the individual is much more than just one thing.

The statue mirroring Dench is here represented by the graffiti above my friend’s head.

[oliviapowellphotography]

Bart Hess- Analysis

Bart Hess, a Dutch artist and designer born on January 2nd 1984. Although not being a professional photographer, Hess’ work has been displayed in many exhibitions from the year of 2009 onwards, including Fashion Carousel in Paris 2011 and Dressing the screen in Singapore 2013. Aside from this has been a nominee for several awards for his work, from 2011’s Dutch design awards to 2014’s New technological art award. He also previously collaborated with many artists, such as Lucy McRae, Lady Gaga and Nick Knight.

My understanding of surrealism in artwork is a display of bizarre work primarily focusing on elements of fantasy. Visually this portrait would be selected for this category because of the metallic pins used to prep the face unnaturally giving an unrealistic and quite ghastly appearance, easily associated with what you could imagine to be a future experiment for facial reconstruction surgery. However, in an interview with Dazed, when asked if his work was made to repulse the audience or defying a new beauty Hess said, “I think the latter, its the most interesting boundary to work within. I love how tribes define beauty. For us its shocking, but for them its really beautiful. I want to challenge my audience to decide for themselves.

I consider this photograph to be more a result of a fine art piece rather than a basic photograph due to the formal element of this photograph being the styling as the main component of the piece. The reason for this is because, similarly to Bart Hess’ other pieces, all his work are individually thought out to form the work he had constructed, therefore making the meaning and the practical element behind these photographs primarily art based and shown on the surface. An exhibition Hess become the recipient of the Stitching profile prize explained that “Hess creates another world, one in which technology melds body and object… we are transformed into a new but completely logical creature.

The digitally editing tools the artist has used to enhance these photographs would be quite natural and simplistic due to the initial empowerment of the costume, makeup and general set out of the photograph. Therefore, I believe only colour and lighting such as Hue and Saturation would be enhanced to the photograph and airbrushing and sharpening specifically to a portrait photography model.

The impact of these photographs in a gallery or magazine would be quite intense and very effective. In a gallery these images would be very eye catching due to the underlying aesthetically pleasing look. In addition to this the unique styling of the photographs would cause questioning and confusion of the viewers, immediately attracting thought about Bart Hess’ work, therefore allowing an open interpretation alike the models who aren’t given "any direction on how they should act”. However, I believe you would feel a greater impact, viewing the images in a gallery over a magazine. The reason I believe this is due to the noticeable dashes of colour in the majority of Hess’ work along with the context, which would portray a more striking effect being on a larger scale and hung in a gallery. As these images aren’t really associated directly with the industry of fashion or something you would find in a typical magazine. Hess himself calling his own work “uncomfortable” and that it “brings out a certain feeling or instinct I was to enlarge in the final work.”

My personal response is that I find this photographs to be very intriguing, as individually Hess’ work are all very unique pieces, separate in their own ways. This results in a high amount of questioning of ‘why the photographs look how they do’ and ‘how does Hess come up with the ideas he does’. This photograph inspires my own work by visually showing the changes I am trying to create, especially between the original and the reconstructed photographs. However, differs to my photographs as it would have been at the fault of social media.

[anycontentposter]

In Our Time: A Year of Shooting Exactly One Film Photo Per Day

At the end of every year, I get to see, for the first time, all the things I’ve already seen. New Year’s Eve is my final film pickup day for One Second, an ongoing project in which I, an otherwise sane, rational, working modern photographer, make one photograph, and only one photograph, on film, every day, with no do-overs and no second chances.

As I discussed here last year, it remains the most joyful, important, frustrating, and miserable work I’ve ever done — a meditative process as much as an artistic one, in the constant vigilance required to judge each and every moment to decide if it might be the day’s prize or, in desperation, its least-lacking.

I have been a digital shooter since my editor at the suburban newspaper where I worked in 2003 forced me — damn near at swordpoint — to switch to digital, just after I returned from the Eddie Adams Workshop, where I’d been the only person to turn up at their portfolio reviews holding plastic sheets full of slides.

The past is another country; sometimes, you need to travel thousands of miles from where you are born, to know where you are from.

Now, I spend my whole life — in subways, on planes, on foot, sitting at my desk at home — with a little film camera close at hand — a junky little instrument with no autofocus and a dysfunctional meter. Sometimes you know — you can just feel it — that something is going to break out, and you end up wasting in the waiting.

Photography is, at its core, the larceny of time, and when one must be a careful burglar, it feels doubly so. The camera is old, with a loud shutter, and each day’s lonesome exposure makes a heavy, satisfying noise to announce the theft. I am glad of it; every artist must be willing to rescue themselves from a prudent life.

It is a difficult shift from the majority of modern photography, oh-so-recently a marvel but now almost entirely mundane. Only a generation ago, photographs were memories rather than reminders; now, our moments have become momentary. Sure, the claims of endless sightings of abominable snowmen and angels and UFOs have ceased now that near every person on earth keeps a camera in their pocket at all times — an odd coincidence, that — but we’ve lost all the rest of the magic, too.

In 1950, the average American family went through one roll of film a year; today, most people make several thousand on a cellular phone and then forget each and every one of them.

The photograph, the film photograph, is as much an artifact as it is a story; there is an awkward, uncomfortable power in holding a negative in one’s hand. One makes the photograph hoping, waits to develop it unknowing, and produces it nervously. Film photographs are, in many ways, like children — in the gestation, one never knows how they’ll turn out, who they’ll be, and the product is just as fragile. Every scratch can become a scar.

And yet, it is something real, a tactile testimonial.

When I was a little boy, our home’s yard miraculously opened up one day when some soil shifted. A ten-foot hole yawned open revealing what had been the garbage pit of the colonial farming family that had lived there two centuries earlier: long white clay Dutch smoking pipes, piles of broken bottles that once contained every color of liquor, and remedies to cure every ailment known to man and beast — traces of last years’ lives, stolen from time, left by unwitting others to tell us that, even in their long absence, they are survivors.

We, too, in an age of fake news and cultural ephemera, seem to be taking to the old ways, not for pastiche but for permanence: Victrola sales are on the rise, kids with unnatural hair colors buy vinyl records by the crate, and wet plate photography seems to be making the greatest comeback since Lazarus. People are hungry to return to the things that are empirically not as good, but which are real, tangible.

Decades ago, the Voyager probe lit out of our solar system, pining for the stars, carrying in the grooves of its golden disc cargo our music, to be heard by foreigners we’ll never meet. Now, the world is getting hotter, the tides are rising, and there is some comfort in knowing that there may still be tintypes of Paris long after Paris herself is gone.

I, for my part, had a long year on the road, logging 100,000 miles in the air, doing travel assignments on four continents and teaching a workshop in Outer Mongolia. This year’s negatives bear the worn soles of all travelers — in their case, the grain and fogging left by x-ray machines at airports the world over boasting the same bald, bold lie: YOUR NEGATIVES WILL NOT BE HARMED.

I spent half my year arguing with airport security personnel that they should check it by hand, before watching them lob it, half-chuckling, into an X-ray. I lost quite a few photographs this year to this disease; others — as in last year, and probably every year until my last — to missed opportunity.

I hold fast to the tyranny of this project’s main conceit, and the price is enormous: this year, I gave at least two days’ photographs to other things only to waltz into beauty mere minutes later. Once, I found a muscular, refrigerator shaped man getting a tattoo on his chest while doing shirtless pull-ups on St Mark’s Place; on another day, I was forced to watch, helpless and near panting and camera in hand, as an impromptu wedding broke out in a Chick-fil-A.

Still, what the work brings to my life — the chance to treasure not technology, but poetry — cannot be overstated. I do not, at the end of my year, have three thousand photographs of all my lunches to wade through, but I do have this: 365 photographs, one second of my year, not just a moment but a memory, of life in our time.

More images from the past year’s One Second can be seen here.

About the author: B.A. Van Sise is an internationally-known photographer and the author of the interdisciplinary photo book “Children of Grass,” proclaimed “the year’s most startlingly original, remarkable book” by Joyce Carol Oates in the Times’ Books of the Year 2019. The opinions in this article are solely those of the author. Van Sise’s visual work has previously appeared in the New York Times, Village Voice, Washington Post, and BuzzFeed, as well as major museum exhibitions throughout the United States, including Ansel Adams’ Center for Creative Photography, the Peabody Essex Museum, and the Museum of Jewish Heritage; a number of his portraits of notable American poets are in the permanent collection of the Smithsonian’s National Portrait Gallery. His written work has appeared in Poets & Writers, the Southampton Review, Eclectica, and the North American Review. You can find more of his work on his website.

Read more about this at petapixel.com

https://coolarticlespinner.com/in-our-time-a-year-of-shooting-exactly-one-film-photo-per-day/

[yogurtandpizza]

Artist #36: Viviane Sassen

ARTIST STATEMENT:

Sassen was born in 1972 in Amsterdam, and lives there. She studied fashion design, followed by photography at the Utrecht School of the Arts (HKU) and Ateliers Arnhem. A retrospective of 17 years of her fashion work, In and Out of Fashion, opened at Huis Marseille Museum for Photography, Amsterdam, in 2012, and travelled to the Rencontres d'Arles festival, the Scottish National Portrait Gallery, Savannah College of Art and Design, Fotografie Forum Frankfurt and Fotomuseum Winterthur. Solo exhibitions have taken place at Fotografiska (2017); Foto Kunst Stadform, Austria (2017); the Deichtorhallen in Hamburg (2017); the Museum of Contemporary Photography, Chicago (2017); Hordaland Kunstsenter, Bergen (2016); Atelier Néerlandais, Paris (2015); The Photographers’ Gallery, London (2015); ICA, London (2015); and Nederlands Fotomuseum, Rotterdam (2014). Sassen was included on the main exhibition of the 55th Venice Biennale, The Encyclopedic Palace, in 2013. She has exhibited in notable group shows at Pulitzer Arts Foundation (2017); Rijksmuseum, Amsterdam (2017); Museum für Neue Kunst Freiburg, Germany (2016); Museum de Fundatie, Zwolle (2016); New Photography at the Museum of Modern Art, New York (2011); No Fashion, Please! Photography between gender and lifestyle at the Vienna Kunsthalle (2011); Figure and Ground: Dynamic Landscape at the Museum of Contemporary Canadian Art in Toronto as part of the Contact Photography Festival (2011); and Six Yards: Guaranteed Dutch Design at the Museum for Moderne Kunst Arnhem (2012). Sassen was awarded the Dutch art prize, the Prix de Rome, in 2007, and in 2011 won the International Center of Photography in New York's Infinity Award for Applied/Fashion/Advertising Photography. In 2015 she was awarded the David Octavius Hill Medal from the German Photography Academy, and was nominated for the Deutsche Börse Photography Prize for her exhibition Umbra. She has also received numerous awards for her publications.

SOURCES:

https://www.vivianesassen.com/bio/

[sailorrrvenus]

Award-Winning Photographer Lisa Saad Accused of Stealing Photos

Lisa Saad is considered one of Australia’s top photographers and has won numerous prestigious photo contests both in her country and internationally. But Saad has now come under fire with serious accusations of stealing other people’s photos without credit for her prize-winning photos.

Saad has won over 200 awards over the course of her career, and she’s also the brand ambassador for Ilford, Manfrotto, Epson, Phottix, Tamron, and Eizo.

Back in 2016, Saad sparked a great deal of debate in the photography industry after she was named 2016 AIPP Australian Professional Photographer of the Year for a series of photo-manipulations. She had submitted 4 artworks from a series titled “Anonymous Man”:

Lisa Saad’s submissions to the Australian Professional Photography Awards in 2016.

While the controversy then was regarding the line between photo illustrations and “pure” photography, Saad is now being accused of using other photographers’ photos to create her photo illustrations.

Photographer Corey Balazowich of the website Photo Stealers has spent days digging into Saad’s body of work and working to uncover the original source of elements found in them.

Balazowich first began investigating Saad after Dutch photographer Marcel van Balken accused Saad of stealing elements from his award-winning photo illustration titled Runner, which was created using details from the Arnhem Centraal train station in The Netherlands.

Van Balken noticed that one of Saad’s award-winning photos, which won awards from the Australian Institute of Professional Photography (AIPP) and The Societies of Photographers, looked strangely similar:

Van Balken tells Inside Imaging that Saad never asked him if she could use his photo for her work. Saad tells Inside Imaging that her photo didn’t use any elements from Van Balken’s work.

But when pressed by Van Balken to share the original file she shot and used, Saad allegedly sent a .PNG screenshot of a different photo shot by a different photographer (who Van Balken discovered by doing a reverse image search on Google).

Here’s what the two photos look like with the teardrop shape aligned:

AIPP says it’s currently reviewing the allegations being made.

But this example is only the tip of the iceberg of what Saad is now being accused of. Photo Stealers has found a large number of examples in which Saad apparently used other photographers’ photos without credit (and it’s unclear whether she obtained permission).

One of the examples is the geometric heart photo above that helped Saad win AIPP Australian Professional Photographer of the Year. The heart shape itself seems to have been sourced from an image created by a design studio based in Bangkok, Thailand.

Photo Stealers created an overlay showing just how perfectly the shapes line up:

After winning the prestigious award in 2016, Saad told ABC News that she shot the elements that went into her photo illustrations.

“Every image has been photographed, so all the little elements I’ve gone out and photographed, and then I’ve combined them into Photoshop and so they look probably more like photo illustrations,” Saad stated.

And on her blog, Saad wrote that the bonsai tree seen on the top-right of the heart was her mother’s.

“My mothers death, felt so strongly during those long nights that I grieved through my images and this was the turning point,” Saad writes. “This image is dedicated to my mother (it is her bonsai that sits so proudly at the top).”

But Photo Stealers discovered what appears to be the original photo of the bonsai tree, published by a Flickr user named Cliff under a Creative Commons license back in 2009.

“Note, this image was taken in 2009, so not only would it disqualify her based on the fact it isn’t her original intellectual work but also was taken outside of the 2 year rule that most of the contests have rules about,” Photo Stealers writes. “The licensing appears to allow the use of the image with credit, but that still is against the various contest rules.”

Photo Stealers also discovered that other award-winning photos by Saad contain extensive use of stock photos and illustrations. Here are just some of the examples (Saad’s award-winning photos on left and the apparent stock sources on the right):

And this use of non-original photography clearly breaks the rules of contests that Saad has won. Here’s a sampling of the broken rules:

“Any entry which has been reproduced from an existing photograph, portrait, graphic or any other artwork produced by another person is a violation of the competition rules and will be disqualified.” —The Societies of Photographers.

“All elements in an image must be the work of the photographer. […] The use of stock photography, purchasable digital backgrounds, skies, borders and textures is prohibited.” —AIPP/APPA

“All content and images must be 100% photographic, from original exposures made within 24 months of the Online Entry Registration closing date, and created by the entrant (photographer). This includes all composite elements of an image, including backgrounds, skies, text, overlays and textures.” —NZIPP

“No third-party imagery, stock photography (skies, clouds, props, nature, architecture, illustrations, border, or backgrounds), or stock footage is allowed. —WPPI

Photo Stealers has put together a document showing how many of Saad’s awards were won with photos that apparently went against the rules (and thus weren’t eligible):

After publishing its ongoing report, Photo Stealers was contacted by Saad’s lawyers demanding that the article is taken down, that Balazowich publish an apology, and that compensation is made. Balazowich responded by publishing even more examples of apparent photo misuse, stating that she has never made a single false accusation in the five years Photo Stealers has been online.

source https://petapixel.com/2019/02/13/award-winning-photographer-lisa-saad-accused-of-stealing-photos/

[pauldeckerus]

Award-Winning Photographer Lisa Saad Accused of Stealing Photos

Lisa Saad is considered one of Australia’s top photographers and has won numerous prestigious photo contests both in her country and internationally. But Saad has now come under fire with serious accusations of stealing other people’s photos without credit for her prize-winning photos.

Saad has won over 200 awards over the course of her career, and she’s also the brand ambassador for Ilford, Manfrotto, Epson, Phottix, Tamron, and Eizo.

Back in 2016, Saad sparked a great deal of debate in the photography industry after she was named 2016 AIPP Australian Professional Photographer of the Year for a series of photo-manipulations. She had submitted 4 artworks from a series titled “Anonymous Man”:

Lisa Saad’s submissions to the Australian Professional Photography Awards in 2016.

While the controversy then was regarding the line between photo illustrations and “pure” photography, Saad is now being accused of using other photographers’ photos to create her photo illustrations.

Photographer Corey Balazowich of the website Photo Stealers has spent days digging into Saad’s body of work and working to uncover the original source of elements found in them.

Balazowich first began investigating Saad after Dutch photographer Marcel van Balken accused Saad of stealing elements from his award-winning photo illustration titled Runner, which was created using details from the Arnhem Centraal train station in The Netherlands.

Van Balken noticed that one of Saad’s award-winning photos, which won awards from the Australian Institute of Professional Photography (AIPP) and The Societies of Photographers, looked strangely similar:

Van Balken tells Inside Imaging that Saad never asked him if she could use his photo for her work. Saad tells Inside Imaging that her photo didn’t use any elements from Van Balken’s work.

But when pressed by Van Balken to share the original file she shot and used, Saad allegedly sent a .PNG screenshot of a different photo shot by a different photographer (who Van Balken discovered by doing a reverse image search on Google).

Here’s what the two photos look like with the teardrop shape aligned:

AIPP says it’s currently reviewing the allegations being made.

But this example is only the tip of the iceberg of what Saad is now being accused of. Photo Stealers has found a large number of examples in which Saad apparently used other photographers’ photos without credit (and it’s unclear whether she obtained permission).

One of the examples is the geometric heart photo above that helped Saad win AIPP Australian Professional Photographer of the Year. The heart shape itself seems to have been sourced from an image created by a design studio based in Bangkok, Thailand.

Photo Stealers created an overlay showing just how perfectly the shapes line up:

After winning the prestigious award in 2016, Saad told ABC News that she shot the elements that went into her photo illustrations.

“Every image has been photographed, so all the little elements I’ve gone out and photographed, and then I’ve combined them into Photoshop and so they look probably more like photo illustrations,” Saad stated.

And on her blog, Saad wrote that the bonsai tree seen on the top-right of the heart was her mother’s.

“My mothers death, felt so strongly during those long nights that I grieved through my images and this was the turning point,” Saad writes. “This image is dedicated to my mother (it is her bonsai that sits so proudly at the top).”

But Photo Stealers discovered what appears to be the original photo of the bonsai tree, published by a Flickr user named Cliff under a Creative Commons license back in 2009.

“Note, this image was taken in 2009, so not only would it disqualify her based on the fact it isn’t her original intellectual work but also was taken outside of the 2 year rule that most of the contests have rules about,” Photo Stealers writes. “The licensing appears to allow the use of the image with credit, but that still is against the various contest rules.”

Photo Stealers also discovered that other award-winning photos by Saad contain extensive use of stock photos and illustrations. Here are just some of the examples (Saad’s award-winning photos on left and the apparent stock sources on the right):

And this use of non-original photography clearly breaks the rules of contests that Saad has won. Here’s a sampling of the broken rules:

“Any entry which has been reproduced from an existing photograph, portrait, graphic or any other artwork produced by another person is a violation of the competition rules and will be disqualified.” —The Societies of Photographers.

“All elements in an image must be the work of the photographer. […] The use of stock photography, purchasable digital backgrounds, skies, borders and textures is prohibited.” —AIPP/APPA

“All content and images must be 100% photographic, from original exposures made within 24 months of the Online Entry Registration closing date, and created by the entrant (photographer). This includes all composite elements of an image, including backgrounds, skies, text, overlays and textures.” —NZIPP

“No third-party imagery, stock photography (skies, clouds, props, nature, architecture, illustrations, border, or backgrounds), or stock footage is allowed. —WPPI

Photo Stealers has put together a document showing how many of Saad’s awards were won with photos that apparently went against the rules (and thus weren’t eligible):

After publishing its ongoing report, Photo Stealers was contacted by Saad’s lawyers demanding that the article is taken down, that Balazowich publish an apology, and that compensation is made. Balazowich responded by publishing even more examples of apparent photo misuse, stating that she has never made a single false accusation in the five years Photo Stealers has been online.

from Photography News https://petapixel.com/2019/02/13/award-winning-photographer-lisa-saad-accused-of-stealing-photos/

[westphotolukedas]

Taylor Wessing Photographic Portrait Prize 2018

The National Portrait Gallery exhibits the Taylor Wessing Photographic Portrait Prize each year. It is open to all photographers inclusive of young graduates, gifted amateurs and established professionals. In 2018, 1973 artists entered from over 70 countries. Out of 4462 photographs, 341 were printed for physical judging and 57 were exhibited to the public. The winner of the prestigious first prize received £15000.

Guen Fiore (1988) is an Industrial Engineering undergraduate at Tor Vergata University of Rome. She has been published in Vogue Italia, Vanity Fair and the British Journal of Photography. Furthermore, she was selected for the Lens Culture Portrait Awards 2018, Moscow Photo Award 2016 and Lucies International Photography Awards in 2014 and 2015. ‘Greta & Guenda’ 2018 are the Italian twin sisters that she encountered during a visit to Le Marais, Paris where she captured this intimate pose in their city apartment. Fiore employs a shallow depth of field to emphasise their physical closeness and paralleling likenesses. The composition is brought together with a tight frame, which represents the emotional connection only sisters are able to share.

Robin de Puy (1986) grew up in her parents’ family hotel in the small village of Oude-Tonge, South Holland. She studied at the Fotoacademie Rotterdam and in her graduating year won the Photo Academy Award 2009. She was awarded first prize at the Dutch Photographic Portrait Prize 2013 and the Lens Culture Portrait Awards 2018. In 2015, de Puy embarked on a 10000km road trip on a Harley Davidson across the United States. While passing through Ely, Nevada she photographed a young boy named Randy. She would return to take his portrait several times, which would form the basis for a book, film and exhibition. For the first eight years of his life, Randy was incapable of speaking at all. As de Puy formed a connection with the boy, he was able to express his personality via the photographic process. ‘Randy #029454’ 2017 portrays the sitter’s youth and innocence with his outstretched arms transecting the disappearing train tracks.

Shahid Bashir (1979) graduated with a BA in Fashion, Photography and Illustration from Central Saint Martins College of Art and Design and an MSc in Business Psychology from the University of East London. He is a published fashion photographer and also has corporate clients such as KPMG, PwC, Linklaters and Deloitte. ‘Olga’ 2017 was photographed backstage as models were fitted and had their makeup applied. The classical and sharpened features of Olga particularly intrigued Bashir as she quietly waited her turn. He opted for an analogue and painterly tone, which was deliberately contrasting to the precision of his digital camera. The blurred focussing in this composition implies a dreamlike and illusory atmosphere.

Rinko Kawauchi (1972) was the In Focus photographer at the competition this year. She developed an interest in photography while studying at the Seian University of Art and Design. Commercial photography and advertising was her primary interest for several years before she began to pursue a career as a fine art photographer. She was awarded the Kimura Ihei Award 2002 and International Center of Photography's Infinity Award 2009. In addition, she was short listed for the Deutsche Börse Photography Prize 2012 and Prix Pictet 2016.

Kawauchi’s photographs capture the smallest details of everyday occurrences with a lyrical and a poetic gaze. Small events witnessed in passing are given heighten meaning with her use of perspective, cropping and their juxtaposition within a considered sequence. The eleven untitled photographs on display for the first time are a part of an on going series that centres around her family life. Natural light, a sense of delicacy and fragility are a unifying theme of the works. ‘The members of my family unfold as the subjects in this series as a conduit for me to consider the nature of time and the ephemerality of this world,’ she describes.

Guen Fiore, Greta and Guenda, 2018

Robin de Puy, Randy, 2017

Shahid Bashir, Olga, 2017

Rinko Kawauchi, Untitled, 2018

[caveartfair]

Photographs That Capture the Legacy of Soul, from Tina Turner to Amy Winehouse

In the late 1950s and early ’60s, soul—black music with elements of R&B, gospel, and blues—emerged in the American South and later burgeoned in Detroit, where pop-infused Motown hits took hold, as well as Chicago. Although male artists like James Brown first championed soul, women became a driving force of the genre, as legends like Etta James and Aretha Franklin rose to center stage. Soul music became a powerful vehicle to address social and political issues like civil rights and the Vietnam War, with which white soul singers like Dusty Springfield and Janis Joplin also engaged. Subsequent genres like disco and funk are indebted to soul, while artists such as Amy Winehouse, Erykah Badu, Adele, and Lauryn Hill represent the genre’s contemporary influence and endurance. Below are six photographers who immortalized the performances and personas of soul’s leading ladies.

Gijsbert Hanekroot

Tina Turner by Gijsbert Hanekroot. © Gijsbert Hanekroot.

Tina Turner by Gijsbert Hanekroot. © Gijsbert Hanekroot.

Tina Turner by Gijsbert Hanekroot. © Gijsbert Hanekroot.

For over a decade beginning in the late 1960s, the Brussels-born Dutch photographer Gijsbert Hanekroot shot leading musicians—from Mick Jagger to Bob Marley—for the Dutch music magazine OOR. In images from the early ’70s, Tina Turner performs in Rotterdam during an era when she and Ike Turner were making soulful music together, churning out hits like their 1970 cover of John Fogerty’s “Proud Mary.” Shot from below, Turner appears larger than life as she performs with powerful, expressive energy. Although Hanekroot left music photography in the early 1980s to become a tech and publishing entrepreneur, he recently returned to his body of work, digitizing past images; publishing an art book, Abba…Zappa: Seventies Rock Photography, in 2008; and showing in Tokyo, Moscow, and across Western Europe.

Jerry Schatzberg

Aretha Franklin, . Jerry Schatzberg ClampArt

LaVerne Baker, 1957. Jerry Schatzberg Nikola Rukaj Gallery

Bronx-born Jerry Schatzberg was an instrumental American filmmaker in the ’70s, and his 1973 film Scarecrow, starring Al Pacino and Gene Hackman, earned him a Palme d’Or prize at the Cannes Film Festival. Before his film career began, Schatzberg shot fashion photographs that were published by the likes of Vogue and Glamour, as well as portraits of celebrities from Fidel Castro to Jimi Hendrix. In 1967, he captured Aretha Franklin in her mid-twenties. The close-up photograph shows Franklin, seemingly unaware of the camera, caught in the middle of singing with her earring frozen mid-swing. The image epitomizes Schatzberg’s intimate, lighthearted compositions, whose unusual angles and stolen moments place them more in step with Modernist photography than traditional celebrity snaps.

David Corio

Whitney Houston performing in 1988. Photo by David Corio, Redferns.

Nina Simone, . David Corio Gallery Vassie

As a teenager, David Corio began photographing concerts in London, shooting artists like Elvis Costello. Later, the British photographer captured “High Priestess of Soul” Nina Simone, as well as soul and funk singer Lyn Collins (whom James Brown dubbed the “Female Preacher”) and Aretha Franklin. His black-and-white photos perfectly balance crisp dark tones with luminous highlights, resulting in images that are simple yet stunning. (Corio has stated that he prefers the medium to color photography for its “character” and drama.) Illustrative are his photographs of Whitney Houston from her 1988 concert at London’s Wembley Arena, soon after “Where Do Broken Hearts Go” shot to number one on the Billboard Hot 100 list—her seventh song in a row to do so. The images of Houston also hint at the singer’s genre-crossing career as she appears both sensual and bubbly, an embodiment of her trajectory from soul-infused R&B into ’80s pop.

Ron Galella

Dionne Warwick and Burt Bacharach, Pierre Hotel, New York, 1968. Ron Galella Staley-Wise Gallery

Diana Ross, New York, 1978. Ron Galella Staley-Wise Gallery

In Ron Galella’s images, a smiling Dionne Warwick—whose music spanned gospel, soul, and R&B—hugs Burt Bacharach, who wrote many of her songs; pop and soul superstar Diana Ross is glamorously swathed in fur; and a young Whitney Houston poses with Michael Jackson. A pioneer of the paparazzi genre, Galella captured singers’ and other celebrities’ individual personalities as he unexpectedly photographed them in the course of their daily lives. He often went to obsessive lengths to shoot his famous subjects, adamantly exercising his First Amendment right to follow them through the streets or wait for them to emerge from their homes. Although Galella was praised by Andy Warhol, Jackie Kennedy Onassis’s one-time exclamation to “smash his camera” spurred a lawsuit and became the title of a 2010 documentary about the photographer.

David Gahr

Aretha Franklin, 1968. David Gahr Staley-Wise Gallery

Raised by Russian-Jewish immigrants in a predominantly black Milwaukee neighborhood, David Gahr developed an early appreciation for jazz and blues music. He later moved to New York City, forgoing a spot in Columbia University’s political science Ph.D. program to work at the record store Sam Goody, where he started to photograph musicians who patronized the shop. Beginning in the late 1950s, his photography penchant turned professional; his work graced prominent album covers and was published repeatedly in Time and Life magazines. Gahr’s candid portraits reflect the friendships he developed with many of his subjects. In his images, preeminent folk and jazz musicians like Bob Dylan, Patti Smith, and Ella Fitzgerald seem at ease with Gahr’s discerning lens, often during iconic moments in their careers. Gahr also photographed “The Queen of Soul” Aretha Franklin—one image of her with a half-smoked cigarette in hand and a sorrowful expression on her face is particularly incisive—as well as Janis Joplin, whose passionate, raspy vocals helped launch the blue-eyed soul genre, its white offshoot.

Harry Benson

Tina Turner and Janis Joplin, New York, 1969. Harry Benson Staley-Wise Gallery

Amy Winehouse, London, 1977. Harry Benson Holden Luntz Gallery

Lauded Scottish-born photographer Harry Benson photographed civil rights marches in the ’60s, Nixon’s resignation, and the fall of the Berlin Wall. He has photographed world leaders from Queen Elizabeth to Barack Obama during his presidency (and every other U.S. president since Eisenhower); athletes; models; visual artists like Francis Bacon; fashion designers; and musicians, including The Beatles on their first U.S. tour in 1964. Earning the International Center of Photography’s Infinity Award for Lifetime Achievement in 2017, Benson produces composed, artistic shots that reveal their subjects’ humanity and psychological complexity. In one image from 1969, soul and pop artist Tina Turner sings with Janis Joplin, their shared joy apparent. A more recent image of Amy Winehouse documents the late singer’s sultry persona and evokes her well-known “retro-soul” tracks that are indebted to earlier singers like Turner and Joplin.

from Artsy News

[laradegreeproject]

Rineke Dijkstra - Beach Portraits, 1992-2002

Rineke Dijkstra is a dutch photographer born in 1959 and is currently based in The Netherlands, Amsterdam. She has received awards for her works such as  Citibank Private Bank Photography Prize in 1999 and recently the Hasselblad Award in 2017. Her work mainly focuses in on single portraits of individuals, with some form of context behind the images linking them altogether in some sense. There is a notable similarity in portraits between Beach Portraits and the project New Mothers, 1994. They both show individuals stood facing the camera with a minimalist background, taken from a similar angle. Beach Portraits was exhibited in The Museum of Modern Art, New York, in 1997 and was her most notable work that put her photographic career on the map. This particular series began by Dijkstra being commissioned by a Dutch newspaper to create images revolving around the theme of summer, which led her to photographing prepubescent teenagers individuals on the beach.  She created life-size prints of these bathers in colour, some of which were younger than teenagers, and photographed people in front of seascapes across the world such as in Poland, Britain, America, Ukraine and Croatia. The images show differentiation between teens on the beach worldwide by what they wear, their skin tones, body postures aswell as the seascapes shown in the background of the portraits.

The above three portraits I have attached are all of female adolescents on the beach and are from Coney Island, NY,  De Panne, Belgium and Kolobrzeg, Poland. They were all shot relatively at a similar time spectrum however, the differentiation between the youth is shown through the pictures, through what the individuals wear, accessorises, their hair, make up worn etc. Its a retrospective of pressures caused upon adolescents in different societies around the globe whilst at the beach, which is portrayed as a place to enjoy yourself yet, I feel Dijkstra has addressed these issues through the images. She has photographed the subjects with somewhat harsh lighting which illuminates the young girls bodies against the ocean in the background, which allows details about themselves to become evident to the audience viewing the images. An example would be the young girl from Coney Island having a ankle bracelet on or the tan lines upon the girl from Belgium’s legs. 

The top image is from Coney Island, NY, shot in 1993 and shows a pale young girl in a black bathing suit with wet hair and a slightly red face. She has a straight face looking into the camera and her body language suggests she feels awkward due to her arms and hands being slightly off balance and one of her legs are slightly in front of the other. It looks as though it has been shot in the later evening hours due to the lighting behind her and the sea looks like a slightly grey colour instead of a bluish colour then again, the weather looks overcast so it is just be replicating the colours within the sky. The fact her hair is wet suggests she has been in the sea already whereas in the other images I have attached, the girls do not appear to have wet hair suggesting that they maybe have not been in the sea or swimming as of yet. The girl also is wearing a all black swimsuit, which is often suggested as a slimming colour, which could link to the idea of pressures of adolescence and appearance. She has a ankle bracelet on, that I previously mentioned, showing identity and a hint of quirkiness from her, as a fashion statement yet, the others do not appear to be wearing any jewellery. 

In the second image of the young girl from De Panne, Belgium, it mentions it was shot in August 1992, which would have been a prime time for summer in Belgium. This is made evident within the shot as there is a vibrant blue sky with a blue sea in the far background, due to the tide being out and not being largely visible within the image. There is also a boat that can be seen in the far right background in the distance, and some birds flying in the sky, whereas none of the other images have boats or other elements shown upon the sea within the distance.  In this portrait the girl looks slightly more mature than the previous girl, due to her height and body, and is wearing a stripy swimsuit, that is not showing as much skin off as the other two girls swimsuits. Her hair has movement giving connotations that the area is windy and she also has noticeable tan lines upon her legs, and possibly arms, however it is hard to completely tell due to the light used by Dijkstra. She is looking straight into the camera and looks as though she may have make up on due to her eyebrows plus, her body language appears very posed due to the way her arms are positioned. Her hands are straight and level upon her thighs, as though she is aware of how her arms look in images and does not want them to look fat so holds them exactly in this position. Her lips are also pouting, showing an element of poise and further exaggerating the idea she was ready for the image and it was not taken suddenly. 

The final image is of a young girl from Poland, taken in July 1992, who is shown as very thin and pale with her hair up in a pony tail, unlike the other girls who have their hair down. She has a light green swimsuit on that appears to be of a different style and the material looks different then again, she may have been in the water thus making it look shinier than it normally is. The swimsuit is also higher up than the others and shows more of her gluteus-maximus muscle, showing more body confidence on her part, contrasting with the other girls who do not show that body part off. The fact she is rather thin also could be due to the differentiation in diet in Poland compared to the USA or Belgium. Then again, as Dijkstra addresses body pressure and issues, she may possibly have an eating disorder thus, showing an impact society has had on her body image and lifestyle. She has bright blue eyes, which are very distinctive within this picture, so when printed I imagine they would be very noticeable. Her body is positioned on a slant, as though she is leaning to one side of her body, yet her body appears very natural and he facial expressions do aswell. The sea behind her looks rough i with a few waves, as though the tide is coming back in, and the sky is a pale blue colour, making me unable to decipher as to what time this image was roughly taken at. 

Looking a this series has helped me with portraits and creating different connotations within photographs using people and the setting combined with one another. The differentiation shown between the images and people is interesting to myself and I would like to somehow interpret this theme within my work for my degree project and look into how people can differ yet be linked in some way or form. I will do another shoot with a friend, and will use a portrait format and see if I can try to capture more of the surroundings within the frame instead of the individual mainly, this way I should be able to connote ideas about the person and the individual.

(Source: http://www.tate.org.uk/whats-on/tate-modern/display/rineke-dijkstra)

[nofomoartworld]

Hyperallergic: Art Movements

Chuck Welch, “Ray Johnson Nothing Soup” (2017), can sculpture, 18 x 3 1/2 x 14 (photo by Chuck Welch)

Art Movements is a weekly collection of news, developments, and stirrings in the art world. Subscribe to receive these posts as a weekly newsletter.

The State Department announced that the US will withdraw from UNESCO on December 31, 2018, citing “mounting arrears, […] the need for fundamental reform in the organization, and continuing anti-Israel bias.”

“Salvator Mundi” (c. 1490-1519) the only work attributed to Leonardo da Vinci that remains in private hands, is to be sold at Christie’s on November 15. The painting is estimated to fetch $100 million.

Marina Abramović abandoned plans to open the Marina Abramović Institute (MAI). The artist stated that she is unable to raise the purported $31 million required to convert a space in upstate New York during a talk at the Serpentine Sackler Gallery last week. A highly publicized Kickstarter campaign raised over $661,000 for the project, which is described on its official website as a site to “serve as the legacy of Marina Abramović,” explore performance, and “encourage collaboration between the arts, science, and the humanities.” According to Abramović, the Kickstarter funds were used to pay architect Rem Koolhaas for a preliminary design of the space.

A number of Puerto Rican arts organizations — including the Museo de Arte Contemporáneo de Puerto Rico, Instituto de Cultura Puertorriqueña, and Beta-Local — are pooling their resources and offering free public programs to support those impacted by Hurricane Maria.

The Crackerjack Art Of Chuck Welch Networks The FeMail XX Conspiracy opened at the Christine Price Gallery at Castleton University, Vermont. The exhibition is a collaboration between artists Chuck Welch (aka the Crackerjack Kid) and Tara Verheide (aka Sinclair Scripa), and includes mail art solicited in response to the topics of “Women as Scientific Artists” and “Networked Art as a Global Conspiracy.”

Harland Miller, “Who Cares Wins” (2017), silkscreen print, hand finished with pencil and oil paint, 58 1/2 x 48 inches (courtesy Sotheby’s)

Art for Grenfell, a charity auction for those affected by the Grenfell Tower fire, will be held at Sotheby’s on October 16. The sale includes works by Phyllida Barlow, Jake & Dinos Chapman, Tacita Dean, Isaac Julien, Harland Miller, and Rachel Whiteread.

Philippe Méaille will withdraw his loan of over 500 artworks to the Barcelona Museum of Contemporary Art (MACBA) due to “the political instability in Catalonia.”

Tristram Hunt, the director of the Victoria and Albert Museum, called for the complete pedestrianisation of London’s Exhibition Road. A 47-year-old mini-cab driver ploughed into pedestrians outside the Natural History Museum last Saturday, injuring 11 people and sparking fears of a terrorist incident.

Both UK and non-UK citizens and organizations have until December 29 to respond to a public consultation regarding a proposed ban on UK sales of ivory. The 12 week consultation was announced by environment secretary Michael Gove.

D. Neal Bremer, the former COO of the Grand Rapids Art Museum, filed a whistleblower protection lawsuit against the museum after alleging widespread misuse of donor-restricted funds.

Semiotext(e) cancelled an event with arts organization 356 Mission in Los Angeles after the anti-gentrification group Defend Boyle Heights vowed to disrupt it.

Italian culture minister, Dario Franceschini, confirmed plans to introduce a fee — thought to be around €3 (~$3.50) — for entry to the Pantheon in Rome.

New Architecture Writers, a free program for BAME (black, Asian, and minority ethnic) young people aspiring to work in architecture and design journalism, was launched in London.

Dale Chihuly‘s “Rose Crystal Tower,” a 31-foot tall sculpture composed of composed of Polyvitro crystals and steel, was unveiled in Union Square Park, New York.

Transactions

David Hockney, “15 Canvas Study of the Grand Canyon” (1998), oil on canvas, 66 1/2 x 65 1/2 inches (courtesy Sotheby’s)

David Hockney’s “15 Canvas Study of the Grand Canyon” (1998) was sold at Sotheby’s evening sale of contemporary art for $7,949,576, the second highest price paid for the artist at auction. The same sale saw records set for Josef Albers, Thierry De Cordier, and Alex Da Corte.

The Smithsonian’s Archives of American Art acquired the 1975 to 2015 records of Artists Talk on Art (ATOA). The archive includes recordings of just under 1,000 panel discussions and screenings held in New York City.

The Ullens Center for Contemporary Art in Beijing has been sold to a group of investors led by Lunar Capital, a private equity group in Shanghai.

The Skowhegan School of Painting and Sculpture received a $250,000 gift from the Helen Frankenthaler Foundation.

Rose-Marie and Eijk van Otterloo and Susan and Matthew Weatherbie committed to donating their collections of 17th-century Dutch and Flemish art to the Museum of Fine Arts, Boston — the largest donation of European art in the museum’s history.

A double-sided sketch by Alberto Giacometti sold for £130,000 (~$172,000) at Cheffins auction house. The work was recovered from the estate of the late antiques dealer Eila Grahame earlier this year [via email announcement].

The Frans Hals Museum acquired Jan Porcellis’s “Ships in a Storm” (c. 1618/22).

Jan Porcellis, “Ships in a Storm” (c. 1618/22), oil on panel (courtesy Frans Hals Museum, Haarlem)

Transitions

The International Center of Photography is to relocate to Essex Crossing a year after it moved into a $23.5 million exhibition space on the Bowery.

The New Museum selected Rem Koolhaas and Shohei Shigematsu to design an expansion using an adjacent property at 231 Bowery.

Ludwig Spaenle, the Bavarian Minister of Culture, announced the appointment of Stefan Gros as commercial managing director of the Haus der Kunst in Munich. Gros is co-direct the museum with Okwui Enwezor in a bid to deal with the institution’s financial deficit.

Tim Whalen was elected chair of the National Trust for Historic Preservation’s board of trustees.

Jorrit Britschgi was appointed executive director of the Rubin Museum of Art.

Alistair Hudson was appointed director of the Manchester Art Gallery and the Whitworth.

Julian Cox was appointed chief curator and deputy director of the Art Gallery of Ontario.

Rita S. Craig was appointed chief financial officer at the Oklahoma City Museum of Art.

Jessica Kreps was made a partner at Lehmann Maupin gallery.

The family of S.I. Newhouse Jr. appointed Tobias Meyer to advise them on the family’s art collection.

Laurie Anderson, television producer Laura Michalchyshyn, and writer Tanya Selvaratnam, launched The Federation, an organization committed to combatting xenophobia and the threatened closing of physical borders.

Tate St Ives opened its new £20 million (~$26.5 million) extension.

White Columns will relocate to 91 Horatio Street next spring.

Proxyco, a new gallery with a focus on emerging and mid-career artists from Latin America, will open 168 Suffolk Street on the Lower East Side next month.

Mary Weatherford is now represented by Gagosian gallery.

Landon Met is now represented by Sean Kelly Gallery.

Accolades

Trevor Paglen, “Code Names of the Surveillance State” (2014), video (courtesy Altman Siegel Gallery)

The John D. and Catherine T. MacArthur Foundation announced its 2017 MacArthur ‘Genius’ Grant winners. The recipients include Dawoud Bey, Njideka Akunyili Crosby, Taylor Mac, and Trevor Paglen.

ArtPrize 9 announced its award winners. The Public Vote Grand Prize was awarded to Richard Schlatter for his work “A. Lincoln,” a portrait of the US president composed of over 24,ooo pennies. Seitu Jones received the Juried Grand Prize for “The Heartside Community Meal,” an installation in which 250 neighbors dined together at a 300-foot table.

Isa Genzken received the 2017 Goslarer Kaiserring award.

Kader Attia was awarded the 2017 Joan Miró Prize.

The Bessies announced the recipients of the 2017 New York Dance and Performance Awards.

Queer|Art announced the eleven Fellows accepted for its 2017–2018 Queer|Art|Mentorship program.

Obituaries

The London Eye (via Wikipedia)

Holly Block (1958–2017), executive director of the Bronx Museum of the Arts.

Nora Johnson (1933–2017), novelist and memoirist. Best known for The World of Henry Orient (1958).

Hervé Léger (1957–2017), fashion designer.

David Marks (1952–2017), architect. Best known as the designer of the London Eye.

Ralphie May (1972–2017), comedian.

Bunny Sigler (1941–2017), singer, songwriter, and producer.

Jim Walrod (1961–2017), design consultant and expert in mid-century design.

Anne Wiazemsky (1947–2017), novelist and New Wave actress. Wife of Jean-Luc Godard.

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