Filtering by Tag: photography

Artist News: Dirk Braeckman to represent Belgium at the 57th Venice Biennale

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"My photos are like unexploded bombs, charged and full of pent-up energy"
-Dirk Braeckman
Dirk Braeckman, 27.1 / 21.7 / 045 / 2014, 2014. Courtesy of Zeno X Gallery, Antwerp.

Dirk Braeckman, 27.1 / 21.7 / 045 / 2014, 2014. Courtesy of Zeno X Gallery, Antwerp.

Dirk Braeckman: “Participating in the Venice Biennale feels like a victory for Belgian photography, which has never had a broad international platform within the visual arts. Nowadays, everyone is capable of taking good photographs and people are only really interested in the end results. I oppose this trend by emphasizing a process-centered exploration. My photos are like unexploded bombs, charged and full of pent-up energy.”

Dirk Braeckman will represent Belgium at the 57th Venice Biennale. His exhibition in the Belgian pavilion at Giardini will be curated by Eva Wittocx, with M - Museum Leuven as the organizing institution. After past editions featuring artists like Vincent Meessen, Berlinde De Bruyckere, Angel Vergara, Jef Geys, Éric Duyckaerts and Honoré d’O, Flemish Minister for Culture Sven Gatz has decided that Dirk Braeckman will now occupy the international stage in Venice.

In his enigmatic photographs, Dirk Braeckman creates a closed, isolated world in which tactility and texture, distance and intimacy are combined. His monumental photographs tell us nothing, yet they suggest entire stories. Braeckman reflects on the photographic image and challenges the medium’s illusions. He experiments in his creative process with different textures and materials, and explores effects such as over and under-exposure through a variety of printing techniques. Braeckman’s images transcend the moment of capture and reach beyond their frame. He finds the subjects for his photographic work in his immediate vicinity—often undefined places or spaces, preferably interior views.

Dirk Braeckman will create a new set of monumental photographs for the Biennale, tailoring their presentation to the architecture of the Belgian Pavilion. His selection of intriguing pictures will respond to the mass production and consumption of images. Pictures and slogans constantly demand our attention nowadays, whether on television, the internet or in the public space. Dirk Braeckman and curator Eva Wittocx will endeavor to create a sense of tranquillity in the Belgian pavilion, allowing visitors to focus their full attention on the images.

The new body of works that Braeckman is making for Venice will be presented in early 2018 at a double show at BOZAR in Brussels and M - Museum in Leuven.

Please visit e-flux for complete read. 

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

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By The Oxford Eagle Editorial Board


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

Iconic Mexican Photographer Graciela Iturbide Comes to Light in 'A Lens to See'

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Graciela Iturbide’s  Autorretrato con los indios Seris, 1979

Graciela Iturbide’s Autorretrato con los indios Seris, 1979

As part of this year’s Fotoseptiembre, Ruiz-Healy Art will present “A Lens to See,” a solo exhibition of photography by Graciela Iturbide. 
The selections, gathered from the Wittliff Collections at Texas State University, one of the largest archives of contemporary Mexican photography, mark the first time Iturbide has been exhibited in a commercial gallery in Texas, and span a period from the early 1970s to 2006. Among the work are some of Iturbide’s most iconic photographs, including Our Lady of the Iguanas and Angel Woman in the Desert of Sonora, both of which depict the strength and dignity of indigenous women.

Please visit Sacurrent for full text. 

AnOtherMag Presents: Inside the Mind of Seminal Photographer William Eggleston

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William Eggleston , 2016, Photography by Chris Rhodes

William Eggleston, 2016, Photography by Chris Rhodes

The godfather of colour photography answers Jefferson Hack's take on the Proust Questionnaire. His interview is accompanied by an original portrait shot by Eggleston devotee, Chris Rhodes.

Three weeks ago, William Eggleston made a rare appearance at David Zwirner Gallery in Mayfair, London to host a book signing of the accompanying tome to his magnificent new exhibition William Eggleston: Portraits, currently on display at the National Portrait Gallery. As one might expect, the 77-year-old, Tennessee-born photographer – whose revolutionary, five-decade strong opus has inspired generations of artists including David Lynch, Nan Goldin and Jeff Wall – drew an impressively large and diverse crowd, itself indicative of his superlative influence. One such attendee was British photographer and AnOther Magazine contributor Chris Rhodes, who seized the opportunity to take Eggleston's portrait [seen above] to mark the occasion. "To me, he's the greatest living photographer. I admire his visionary use of colour, turning colour photography into an art form – the simple yet profound way of photographing the mundane while ultimately creating visual poetry," mused Rhodes, adding...

Please visit AnOther Mag for comlpte read and questionnaire with Jefferson Hack

What makes William Eggleston's ordinary photographs so extraordinary?

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Though they’re presented as portraits, the images in this National Portrait Gallery show aren’t really portraiture. They’re much more ambiguous than that

Martin Gayford

‘Untitled’, c.1971, by William Eggleston

‘Untitled’, c.1971, by William Eggleston

In 1965 William Eggleston took the first colour photograph that, he felt, really succeeded. The location was outside a supermarket in Memphis, Tennessee; the time — to judge from the rich golden light and long shadows — late afternoon. Eggleston’s subject — a young man with a heavily slicked, early Elvis hairstyle stacking trolleys outside the shop — was as ordinary as he could be. But the result was a photographic masterpiece.

It is included in the exhibition William Eggleston: Portraits at the National Portrait Gallery, although, by most definitions, it is not a portrait. Indeed, it is as hard to say just what it is as it is to explain exactly why it is so good.

The catalogue essay by the curator, Phillip Prodger, recounts how the photographer was once pressed to explain a shot of his infant son lying asleep in bed (pictured above). Is this a meditation on childhood, or a commemoration of this boy at a tender age? No, Eggleston insisted, sounding a bit vexed, ‘It’s something more ambiguous than that.’

Complete read at The Spectator. 

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.

William Eggleston: the stories that inspired David Lynch's favourite photographer

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 Untitled, c.1975 (Marcia Hare in Memphis Tennessee) by William Eggleston CREDIT: EGGLESTON ARTISTIC TRUST

 Untitled, c.1975 (Marcia Hare in Memphis Tennessee) by William Eggleston CREDIT: EGGLESTON ARTISTIC TRUST

By Lucy Davies

By his own count, William Eggleston has taken somewhere between one and two million photographs, though only ever one of each scene. “I have a personal rule: never more than one picture,” he says, “and I have never wished I had taken a picture differently. It simply happens that I was right to begin with.”

Eggleston, now 76, speaks with the courtly lilt of a man born and raised in the tattered decadence of a 12,000-acre plantation in Memphis, Tennessee. Since he began taking pictures in the Sixties, photography has been his sole occupation, which explains the size of his oeuvre, but not its quality, which has enraptured viewers in the intervening years.

For full article please visit The Telegraph


Unconventional: An outsider's look at the RNC featuring Photographs by Martin Parr

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By Benazir Wehelie, For CNN

A Florida delegate holds up a Donald Trump doll during the event.

A Florida delegate holds up a Donald Trump doll during the event.

(CNN)We've seen a lot so far at this week's Republican National Convention, but there's also plenty that has been going on off the stage each night.

While television provides us with clear-cut views of the speeches, photographer Martin Parr shows us the convention, unconventionally.

"Until you get to these things, you never quite know what you're going to see," Parr said before the convention started in Cleveland. "This is not boring, everyday life. This is people with extreme political convictions."

The Magnum photographer, known for humorously capturing the quirks of British life, has never covered anything quite as politically focused.

For complete read please visit CNN