Filtering by Tag: Photography

The MMM Exhibition at Philharmonie de Paris

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Benidorm, Spain, 1997 © Martin Parr / Magnum Photos. (© Martin Parr / Magnum Photos )

Benidorm, Spain, 1997 © Martin Parr / Magnum Photos.
(© Martin Parr / Magnum Photos )

Philharmonie de Paris is currently hosting The MMM Exhibition, on view through January 29, 2017. 

The show is the culmination of a meeting between two personalities - a musician, Matthieu Chedid, with a definitive visual incline, and an iconic figure in contemporary photography, Martin Parr.

At The MMM (Matthieu aime Martin or Martin meets Matthieu) Exhibition, the artists converge in a dialogue held together by two separated and diverse environments. Functioning as a mini-retrospective with more than 500 photographs, Parr’s work is grouped in nine thematic chapters featuring themes such as animals (real and imaginary), headdresses and congregations, each paired with a unique soundtrack, specially composed by Chedid, which is arranged around one music instrument (electric guitar, acoustic guitar, celesta etc). The composer’s “homage” allows for a hybrid experience, halfway between sight and sound, a heartfelt mano a mano.

For complete details, please visit, PhilharmoniedeParis

A Road Less Traveled: How William Eggleston Transformed Photography in America

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JUL 22ND, 2016 10:35 AM

William Eggleston Untitled, 1965/2012 Gagosian Gallery

William Eggleston
Untitled, 1965/2012
Gagosian Gallery

William Eggleston Morton, Mississippi , 1969-1970  ROSEGALLERY

William Eggleston
Morton, Mississippi , 1969-1970

William Eggleston has no trouble pinpointing the first of his color photographs that he considers a success. It was 1965, late afternoon, and the American photographer was standing outside a supermarket in Memphis, Tennessee. The warm sunlight had just caught the blonde hair and absentminded expression of a teenaged employee, who was dutifully organizing shopping carts. Eggleston aimed his camera and moved in close. Click. The resulting image embodies, in many ways, his eventual photographic practice—inconsequential moments in the American South, captured in such a manner that the colors practically glow.

Please visit Artsy for complete read. 

Art Rant: Photo London

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West coast flower power: Rose Shoshana; The Mother of photography dealers, always enthusiastic and generous with her time was stuck in a badly lit overly warm corner. Her booth shows magnificent and rare Evelyn Hofer and William Eggleston dye transfer prints going for approximately the same price ($40k or less) as the uninventive pretentious void of a Jean-Baptiste Huynh print. Hello! Dye transfer prints are pure magic! This rare and complicated technique is the most vibrant expression at the heart of the historical renaissance of American color photography. Why have they not sold out?

Source: artwise


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Photographer Spotlight: John Chiara


"photography is a process and it is a physical piece of art."

Since receiving his first camera at the age of nine, photography has been Chiara’s means of understanding the world, and his unique method uncovers hidden facets of familiar urban spaces by making the ordinary seem extraordinary. Exploiting the chance events of chemistry, using stripped-down components and extended time (as much as 30 minutes per exposure), and manipulating from within to cause scarring and degrading and aberrations of color and temperature, Chiara finds a kind of rapture in the very DNA of the photographic medium.

Read the entire review on lareviewofbooks

US photo exhibit address identity issues. Tomoko Sawada's "Facial Signature" on view at ROSEGALLERY

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Japanese artist Tomoko Sawada says Americans often tell her she looks Korean or Chinese or a number of other East Asian ethnicities. The experience inspired her to open a new exhibit in Los Angeles, called "Facial Signature." CCTV America's Patrice Howard reports:

human beings share 99.99999 percent of the same genes. All of us — despite having different types of so-called “added cultural values” — such as nationality, race, religion, and language — are by nature and essence equal to one another.
— Tomoko Sawada

Provocative Things: A Profile & Interview with Jo Ann Callis

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In the early 1970s, Jo Ann Callis left Cincinnati, where she had grown up, for California. Some forty years later, FotoFocus brought her back. On February 24, 2016, she gave a lecture—really an annotated slide show of her work—at the Cincinnati Art Museum as part of its Lecture and Visiting Artist Series, and the following morning she spoke informally at some length to Aeqai, both conversations generously arranged through FotoFocus. After her evening presentation, as an unofficial part of the celebration of her homecoming, a group of Cincinnatians who had gone to Walnut Hills High School with her crowded around to swap stories and memories. (One was Louis Sirkin, the First Amendment lawyer who, some two decades after Callis left town came to prominence by defending the Contemporary Arts Center in the Mapplethorpe trial. Callis remembered him fondly: “We were in the same Chemistry class. But we never went out.”) Callis, a pioneer of color photography and a leader in the Fabricated Photograph movement of the 1970s and 80s, has some deep professional roots in Cincinnati, where one of her first solo shows was mounted by the Contemporary Arts Center in 1983. Looking over Cincinnati’s downtown revival the following morning, Callis was only moderately interested in how the city had changed in the intervening decades. She was eager to walk from her hotel to the Taft Museum and to renew her acquaintance with one thing you can get in the Midwest that she can’t see in California. “Oh good!” she said: “it’s snowing!”

Jo Ann Callis, “Woman Twirling” (1985)

Jo Ann Callis, “Woman Twirling” (1985)

Callis has been in the news for the 2014 publication of Other Rooms, an anthology of what she had originally called her fetish photographs from the mid-1970s, now sumptuously printed by Aperture with an introductory essay by Francine Prose. The work garnered much praise and raised some eyebrows. Callis’s sensibility might be described as a heady blend of the mischievous and the prim. At the Museum, she said of one of her photographs that “it looks like a bordello to me. Or what I imagine a bordello to be like.” Up till now, most people had thought of Callis’s oeuvre as being both elegant and mysterious, characterized by sparse, finely-staged photographs of rooms subject to questionable degrees of order and human control. In the title picture to her 1999 exhibition at the Getty “Woman Twirling” (1985), a woman spins close to the corner of a nearly empty room. She is little more than a skirt and a blur. In the foreground, a lamp sits on a small round table, its base made of carved wood, depicting a couple melting into each other in an embrace.  While the twirling woman might be celebrating, she seems in a frenzy. In her Museum talk, Callis calls attention to her “repetitive action”: this, she says, is a sort of “madness.” What exactly are we witnessing? Like a lot of Callis’s images, it borders on the political, raising questions about women’s roles in our culture and their responses to those roles. And like a lot of her images, it shares some of the wild logic of a dream. But if so, whose?

Jo Ann Callis, “Woman with Black Line” (1976-77)

Francine Prose, in her excellent introductory essay to Other Rooms, observes that Callis’s photographs are “rich in erotic possibilities,” though it is worth noting that this is not quite the same as saying that they are richly erotic. The pictures are smart and telling, but they are certainly not depictions of—or incitements to—pleasure. In speaking of her work, Callis begins by asserting her formalist credentials: “I wanted my pictures to be constructed formally, and to be kind of tight.” Francine Prose wonders “what is so erotic” about these photographs? What “about a dark line, like the seam of an old-fashioned stocking, drawn from the top of a woman’s head straight down the length of her spine?” Prose’s answer begins with imagining the sort of scenario of sexual play that produces such a mark: “it’s something the woman is unlikely to be able to do on her own….We wonder: at what point does a lover feel comfortable enough to say, Want to know what I really like?…At what point in the discovery of desire does a woman realize that is what she wants?” Callis explains a different sort of origin for the picture: “It started with the feeling of a bowling bowl on a pillow.” In describing “Hands on Ankles,” Prose asks “How many of us could have predicted that a pair of hands, grasping a woman’s ankles, could be as charged with emotion as hands joined in prayer, in this case before the altar of the woman’s shoes?” Callis explained that she was drawn to “the way the heels dug into the chair.” She values “that moment of a little tension” because “the hands make it precarious,” and then noted “I felt the shadows were good.” She is perhaps the opposite of another photographic formalist of the 1970s, Robert Mapplethorpe, who sought prurience everywhere but actually captured it only fitfully; Callis was uninterested in prurience and found signs of it all over.

Jo Ann Callis, “Hands on Ankles” (1976-77)

Jo Ann Callis, “Hands on Ankles” (1976-77)

For complete read please visit: AEQAI

Artist News: Martin Parr: See “Unseen” photos of The City of London featured by The Memo

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Martin Parr was first recognized for his black-and-white photography in the north of England and later became known for his lurid hyperreal photos of Brighton in the ’80s. He’s always been good at capture his subjects at their most intimate.

“This major exhibition opens up the City of London in a way never before seen,” said Katherine Pearce, curator at the Guildhall Art Gallery.

Read more about this exhibition at The Memo.

Please visit City of London for dates and times .