Sicarios: Latin American Assassins takes the viewer into the underworld of the assassin in Guatemala, where society has been savaged by a culture of murder for hire. Vendors who don't like competition can have them killed for less than $50.
Although he passed away last September at the age of 69, George Kuchar will forever remain an immortal of cinema. Whether shooting 8mm films with his twin brother Mike in the 1950s and early 60s, crafting his own precociously irreverent 16mm productions, staging over-the-top productions with students at the San Francisco Art Institute, or churning out poignant video diaries, George was forever busy making yet another movie. He lived to film, loved to laugh, and looms large over generations of artists, filmmakers, and admirers, all of whom have been delivered by his works to great heights of delightful delirium. Beyond prolific, George made literally hundreds of hysterically heartfelt, outrageously ingenious, incredibly inventive, and impossible-to-pigeonhole works that continue to astound new audiences and create instant fans
I’ve been photographing the streets and subways of New York for the past 30 years. When young people today look at my shots from the 1980’s, they are aghast. To them, New York of the 1980’s is almost unrecognizable. And they are right.
Focused on the convergences between East European and Latin American artists during the 1960s and 1970s, the exhibition Redes Alternativas (Alternative Networks) recalls how photography was used as a strategic practice to overcome the censorship...
IN the fall of 1970 I arrived at Minor White’s house for a live-in workshop. My first task was to organize his photography library. I was mesmerized by the unforgettable images. Photography has had a relatively short history, and I was struck by the fact that most of the practitioners were anonymous and unknown except to a minuscule circle. Unconsciously I must have started to dream of changing that fact, and widening that circle. More than four decades later, this work is the fruition of that dream.
The iconic photography of Walker Evans is on exhibit at Mather House’s SNLH Three Columns Gallery through March. John T. Hill, designer and producer of the exhibition, offers special insight into Evans’ life and work.
On January 18, 2012, the silent film Wings, directed by William Wellman, was screened in the Academy’s Goldwyn Theater in a new restoration, with color tinting duplicating the original Handschiegl process, and featuring live organ accompaniment by Clark Wilson. But this was in no way a recreation of the original release. In 1927, Wings was heralded for its lustrous 35mm. imagery and for thrilling aerial stunts done in a pre-rear screen era, every frame captured as real events on nitrate negative film. This Academy screening, however, was made from a DCP, a digital file, and shown on the Academy’s 2 K Barco digital projector. Like many of the treasures of the silent and early sound eras, the original negative is long lost; the restoration was made from the Cinemateque Française fifth generation print using state of the art digital technology to restore (as far as possible) the shimmering glow of the black and white nitrate film original.
The representation of history is the driving force behind artist, Marget Long’s practice. She works in a wide range of mediums including, photographs, video and text. Most of her projects explore the history of photography, such as “Bad Light,” which considers how we experience the use of flash in photography over the years through its technological advances. “$pooky Photographs for Sale$,” is a running series of photographs, many vintage from the early 1900s, found for sale online under the tagline of “spooky photographs.” In her most recent project, “A Daguerreotype Sideways: Re-visiting Mathew Brady’s Studio @ 359 Broadway,” Long also investigates the meanings behind the history of photographic space. Her innovative approach and explorations into the practice of photography, from its history to its present day interpretations, set Long apart from her contemporaries.
Nueva Luz Photographs: 1985–2011, features artists published in the past 27 years in En Foco’s Nueva Luz photographic journal. Since its premier in 1985, Nueva Luz has published nearly 200 artists in 49 issues, highlighting the work of contemporary fine art and documentary photographers of African, Asian, Latino, and Native American heritage.
Before Photoshop allowed image makers to bend reality to their will with a single keystroke there was Jerry Uelsmann. His layered images came from seven enlargers, multiple negatives and his own hands.