Filtering by Tag: ROSEGALLERY

The Oxford Eagle features William Eggleston in 'University Museum is a Treasure'

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By The Oxford Eagle Editorial Board

Eggleston.jpg

The University of Mississippi Museum has emerged over the past decade as a cornerstone of the growing, thriving, enlightened Oxford and Ole Miss community.

Nothing illustrates this better than the ongoing exhibit “The Beautiful Mysterious: The Extraordinary Gaze of William Eggleston,” featuring 36 color and black-and-white photographs from the renowned photographer.

Sponsored by Friends of the Museum, active supporters who have helped the University Museum increase its reach and presence in recent years, the Eggleston exhibit is one of the region’s more notable to come along in years.

Opening in September and running through January 14, the Eggleston exhibition features photographs from the museum’s permanent collection and others never before exhibited.

For comlpete text please visit OxfordEagle

Photographer William Eggleston pioneered use of colour at MOMA

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William Eggleston’s Greenwood, Mississippi (1973). Collection National Gallery of Australia, Canberra.

William Eggleston’s Greenwood, Mississippi (1973). Collection National Gallery of Australia, Canberra.

In May 1976, a photography exhibition opened at New York’s Museum of Modern Art that The New York Times described as the “most hated show of the year” and The Village Voice as “some sort of con”.

The principal reason for all the vitriol? The photographer, William Eggleston, had the audacity to print his images in colour.

Looking back, it may seem ludicrous there was such contempt for colour photography. However, at the time black-and-white was the prevailing aesthetic and colour photography was the realm of advertising. Furthermore, influential photographer Walker Evans had described colour as “vulgar”.

Despite the negative response, that MoMA exhibition is considered the moment when colour photography became an art form. With just one exhibition, Eggleston managed to show how the use of saturated colour could transcend its commercial origins. He suddenly made colour legitimate and he is often described as the greatest colourist in photographic history.

But colour wasn’t the critics’ only gripe. Eggleston was also lampooned for his choice of ordinary, nondescript subjects, such as a child’s tricycle, a man on a phone and a woman in curlers. He once famously remarked that “I’ve been photographing democratically” to sum up his approach. He also documented his personal life: his wife and children, but also the drug and alcohol-fuelled parties with musicians and artists, and his long-term lovers, such as Viva, one of Andy Warhol’s “superstars”. He is also renowned for taking only one photo of any subject, never a second shot.

For entire read please visit TheAustralian.

Magnum Photo presents 'Time of Change' review by photographer Bruce Davidson

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Working as both participant and observer, Bruce Davidson captures the defining years of the Civil Rights Movement providing an alternative account of African-American life during the 1960s

Bruce Davidson

“That first ride from Montgomery, Alabama to Jackson Mississippi changed my life because it was the first time I encountered oppression and pain,” said photographer Bruce Davidson during an interview in 2013 ahead of the 50th anniversary of the historic march from Selma to Montgomery.

Davidson stands tall as one of America’s most influential documentary photographers. During the Civil Rights Movement Davidson acted as both observer and participant. Between 1960 and 1965 he documented intimate, and at times painful, moments that would come together to provide an alternative visual representation of the turbulent period, capturing the dignity and struggle of African-Americans.

Recalling the march from Selma to Montgomery in 1965, Davidson recounts his approach to documenting the movement: “As I walked with the marchers, I photographed them by themselves and when they stopped to rest. I [had] pictures of them looking straight into the camera. They confronted the invisible audience with proud, determined looks.” Davidson worked without a long telephoto lens or a flash as he preferred to use natural light and never be further than a meter away from what he was photographing. It was this approach that allowed him to capture such strikingly intimate portraits.

 

" They confronted the invisible audience with proud, determined looks"

- Bruce Davidson

For complete read please visit Magnum Photos.

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

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ARTSY EDITORIAL
BY ABIGAIL CAIN
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
ROSEGALLERY

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.

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PHOTOGRAPHER SPOTLIGHT, LARB AV, ART & ARCHITECTURE

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Photographer Spotlight: John Chiara
BY MICHAEL KURCFELD 

 

"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