Filtering by Tag: bruce davidson

The New York Public Library: Podcast #117: Bruce Davidson and Matt Dillon on Lasting Impressions

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by Tracy O'Neill, Social Media Curator

Award-winning photographer Bruce Davidson's prolific body of work includes documentations of the 1960s Civil Rights movement and the gritty underbelly of New York City in the late 70s. He came to the Library this spring for a conversation with Academy Award-winning actor Matt Dillon, who is a great admirer and collector of Davidson’s work. In this riveting discussion between the two great artists, Davidson and Dillon talk about images, storytelling, and the joy of working in silence.

Please visit NYPL for full video.

Martin Parr's Strange and Familiar faces of Britain at the Barbican

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Martin Parr curated exhibition Strange and Familiar: Britain as Revealed by International Photographers at the Barbican Centre is a cultural hit with favorable attention across the globe. The exhibition features 23 international photographers with images created in Britain from 1930 and onward. 

Martin Parr

Martin Parr

Jim Dow,  Southward’s Sweet Shop, Scarborough, North Yorkshire 3 June , 1983

Jim Dow, Southward’s Sweet Shop, Scarborough, North Yorkshire 3 June, 1983

"...Not only is this exhibition a multifaceted history of Britain charted by very different sensibilities through the decades, it also charts the developing medium of photography itself, as various strands of social documentary give way to fine-art photography and colour floods in. In the show’s later rooms, places and people are increasingly given separate portrayals, whether Rineke Dijkstra’s 1990s teenage girls all togged up for a night out in Liverpool’s Buzz Club, or Jim Dow’s rammed shop window displays and his empty Edward Hopper-esque Peckham eel and pie shop."

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Producer Midland shares his appreciation for Bruce Davidson's 'Subway' series

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UK Producer Midland speaks of his affinity for Bruce Davidson's Subway series with Electronic Beats, a T-Mobile affiliate, to share quality journalism and marketing of music & lifestyle content.

Photo from 'Subway' by Bruce Davidson. Published by Steidl

Photo from 'Subway' by Bruce Davidson. Published by Steidl

"In order to contextualize the work and the environment in which it was born, one has to understand that the subway in 1980 was a place New Yorkers treated with equal parts fear and respect. For many people, it was their only way to get to work, to see family or to navigate the vast city, and so necessity often eclipsed personal safety."

Midland also noted, "great artists show you worlds you thought you understood but in a way you never knew was possible."

Harry 'Midland' Agius oversees two record labels, Graded and Re-Graded. 

For complete read please visit ElectronicBeats

Artist News, Bruce Davidson "Gifts to the Collection" exhibition at de Young

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Bruce Davidson,  Brooklyn Gang , 1959, 1959. Mid-vintage gelatin silver print. Fine Arts Museums of San Francisco, gift of Jerri Mattare. © Bruce Davidson/Howard Greenberg Gallery 

Bruce Davidson, Brooklyn Gang, 1959, 1959. Mid-vintage gelatin silver print. Fine Arts Museums of San Francisco, gift of Jerri Mattare. © Bruce Davidson/Howard Greenberg Gallery 

Bruce Davidson: Gifts to the Collection
27 February 2016 – 11 September 2016

Bruce Davidson (American, b. 1933) is one of the most influential photographers of the last half century. Working in both color and black and white, Davidson has documented subjects ranging from the civil rights movement to the urban grit of Harlem and the New York subway system. This exhibition presents a selection of 42 photographs and celebrates important gifts of vintage prints that will be exhibited for the first time since their acquisition in 2013. 

Davidson is known for his humanist outlook and a desire to engage directly with his subject matter, approaches that owe much to his early artistic influences in photography, including Robert Frank, W. Eugene Smith, and Henri Cartier-Bresson. Davidson’s projects include The Dwarf (1958), Brooklyn Gang (1959), and Time of Change (1961–1965), the latter of which chronicles the events and effects of the civil rights movement in both the North and the South. In East 100th Street (1970), he documented a conspicuously poverty-stricken block in East Harlem over the course of two years. Davidson followed this with Subway (1980), and in 1998 he returned to East 100th Street to document the revitalization, renewal, and changes in the neighborhood that occurred since he had last photographed the neighborhood. All of these significant series are represented in Bruce Davidson: Gifts to the Collection.


Martin Parr News, Winter 2015-2016

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ROSEGALLERY artist Martin Parr is busy at work with a number of projects this winter. Here are just a few of the highlights:

The Rhubarb Triangle and Other Stories
The Hepworth Wakefield, UK
4 February to 12 June 2016

Martin Parr , from the series  The Rhubarb Triangle

Martin Parr, from the series The Rhubarb Triangle

The Hepworth Wakefield commissioned Martin to document the Rhubarb Triangle. To coincide with the opening of the exhibition, The Hepworth Wakefield will publish the book The Rhubarb Triangle. The monograph, available in February, includes all the Rhubarb Triangle images that will appear in the show as well as text written by Susie Parr.
Further details here

Strange and Familiar 
Barbican, London, UK
16 March to 19 June 2016

Evelyn Hofer ,  Couple, Wales , 1965

Evelyn Hofer, Couple, Wales, 1965

The show at the Barbican, curated by Martin, considers how international photographers from the 1930s onwards have captured the social, cultural and political identity of the UK. 

From social documentary and portraiture to street and architectural photography, the exhibition celebrates the work of leading photographers, including Bruce Davidson and Evelyn Hofer. Bringing together compelling photographs and previously unseen bodies of work, Strange and Familiar presents a vibrant portrait of modern Britain.
Further details here 

Protest: Latin American Photobooks
Tate Modern, London, UK

Sergio Larrain , Spread from  In the 20th Century , 1965

Sergio Larrain, Spread from In the 20th Century, 1965

On display at the Tate Modern is a selection of Martin’s photobooks reflecting an era of political conflict and social unrest across Latin America.
Further details here

Remembering Dr. Martin Luther King, Jr.

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It is a poignant time in our history that we take today to remember the important work and legacy of Dr. Martin Luther King, Jr.

Illustrated in Time of Change by Bruce Davidson.

Bruce Davidson Featured on KPCC's "Off Ramp"

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Huntington Exhibit: Who Captured Iconic Photos in England? Two Americans!

An photo in England, taken by American Bruce Davidson.

An photo in England, taken by American Bruce Davidson.

Marc Haefele | Off-Ramp | November 12th, 2014, 12:58pm

Off-Ramp commentator Marc Haefele reviews "Bruce Davidson/Paul Caponigro: Two American Photographers in Britain and Ireland," at the Huntington's MaryLou and George Boone Gallery through March 9, 2015.

Paul Caponigro supposedly said, “I love people. I just don’t want them getting in front of my camera.” But his contemporary, Bruce Davidson, made his living photographing people.

Both have an amazing new show at the Huntington.

Bruce Davidson and Paul Caponigro, born in the 1930s, matured artistically in the 1950s and took different paths to photographic fame. Davidson became a high-end magazine photographer, working with authors such as Norman Mailer, with whom he did a famous series on Brooklyn street gangs. Caponigro took a more creative path, falling under the artistic influence of Ansel Adams, Edward Weston and Minor White.  He used a big view camera with a tripod, while Davidson used Leicas.

Both knew each other’s work, but neither met until this show at the Huntington was compiled. 

RELATED: See the photo of their first meeting

You could accurately oversimplify their work’s differences by saying that Davidson is a people photographer, while Caponigro does places. Both by coincidence ended up in the British Isles in the 1960s. And for both, that experience changed their artistic visions. Much of the work they did there has never been shown until now.

Caponigro’s original overseas destination had been Egypt, but 1960 anti-American turmoil there detoured him first to Ireland and then England.  Clearly he found in the remote regions of both places the mystic experience he had earlier sought along the Nile. He said, “There’s a force in this land which is alive.” His work there, which he continued into the 1990s, often focuses on the prehistoric world of dolmens, standing stones, and their surrounding landscapes.

Paul Caponigro (b. 1932), Stonehenge, 1967, gelatin silver print. © Paul Caponigro, photo courtesy of The Huntington Library, Art Collections, and Botanical Gardens.

Paul Caponigro (b. 1932), Stonehenge, 1967, gelatin silver print. © Paul Caponigro, photo courtesy of The Huntington Library, Art Collections, and Botanical Gardens.

Until 1977, when it was fenced in by officials, he practically lived at Stonehenge, which he photographed from many angles, in different lights, in varying seasons, in unimagined aspects. Perhaps no photographer has ever been this close to this ancient monument, and his stunning black and white portraits as shown here are definitive. But then, so are his landscapes and pictures of wildlife — and ever so rarely, even people.

But people were Davidson’s thing. His famous shot of a street waif with a sleeping bag over one shoulder holding a kitten was an iconic image in England. Yale exhibit curator Scott Wilcox notes that Davidson arrived in Britain with little knowledge of the place, commissioned by a fancy British magazine to do an American's eye view of the island. “He had the privilege being allowed on the inside,” said Wilcox.  It was the first of his three camera-toting trips.

Bruce Davidson (b. 1933), London, 1960, gelatin silver print. © Bruce Davidson/Magnum Photos, photo courtesy of The Huntington Library, Art Collections, and Botanical Gardens.

Bruce Davidson (b. 1933), London, 1960, gelatin silver print. © Bruce Davidson/Magnum Photos, photo courtesy of The Huntington Library, Art Collections, and Botanical Gardens.

Davidson first concentrated on London street scenes, including pub goers, street musicians,  crowds and panhandlers. Then he moved out of London to resort towns, where he snapped couples sitting outside getting what sunshine they could, and then it was onward to Yorkshire and Scotland. Next he went to the U.S. to photograph the Civil Rights struggle and returned, to Britain, a changed man, to photograph the downtrodden miners of Wales in a style that evokes Walker Evans. In 1967, he went to Ireland to do a pictorial study of an Irish family circus. The result is an inspired career capstone of photographic virtuosity that is also lively and charged with delight.

Behind the exhibit gallery, they're screening a short film by the Huntington's Kate Lain that shows the photographers as they appear today. Both men look as though their work has kept them young.


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Featuring works by twenty artists from our gallery roster, Passing Through pays homage to the transience of all things and the power of the photographer to immortalize experience with the click of the camera shutter. The exhibition celebrates the essential magic of the medium, which allows us to give pause in a world of rushing and inescapable impermanence.  Together, the disparate photographs and imagery of Passing Through form a journey with its own unique pace, one that mirrors the ebbs and flows of life’s seasons from the youthful rush of possibility through the expectations and trials of middle age and beyond. It is a trip by car across the American landscape, a bicycle excursion through the city, a waltz across a romantically lit room, the shifting sky-scape with ever-changing clouds, an unexpected and devastating automobile crash. The physical world traversed and inhabited by the artists in the exhibition echoes the topography of our internal worlds in that both are subject to the great equalizer of time over which we can never exert power.  To hold onto what invariably slips past, and give undeniable presence to a subject even as it begins to fade, is the photographer’s attempt to counter the fundamental dissolution of existence, out of which the most profound beauty, loss and aspirations materialize.