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Antoine Verglas, Show Girl | La Lettre de la Photographie

Antoine Verglas, Show Girl | La Lettre de la Photographie | Photography Now | Scoop.it

Clic Gallery presents “Show Girl”, Antoine Verglas ’ newest photography book from Gravure. An exemplifier of Verglas’ established mastery over the elegantly sensual image, “Show Girl” voyeuristically trails a vampish Lindsay Ellingson as she inhabits the role of a Las Vegas performer.

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Tatsuo Suzuki - Tokyo Street Portraits | LensCulture

Tatsuo Suzuki - Tokyo Street Portraits | LensCulture | Photography Now | Scoop.it

These intimate, up-close portraits of people in the streets of Tokyo speak for themselves. We love the direct gaze, the honesty and tough humanity of these photographs. One can only imagine the stories behind these time-worn faces.

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Paolo Roversi | The Talks

Paolo Roversi | The Talks | Photography Now | Scoop.it
"My life is full of pictures i didn't take"
Mario Pires's insight:

"The eyes are really the most expressive part of the body for me, but the hands are very important, too. And then the lips, the mouth is very important. But the eyes are by far the key. I think in a picture, if the look is wrong, then the picture is not good for me."

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Picturing the Holy Land: 12 Photographers Chart a Region’s Complexities

Picturing the Holy Land: 12 Photographers Chart a Region’s Complexities | Photography Now | Scoop.it
There are moments when photography can reinvent the idea of a nation and shape an age.
Mario Pires's insight:

"The Holy Land is both the ancient, sacred home of three great monotheistic religions yet also carries with it some of the modern era’s greatest traumas—the memory of the Holocaust, the displacement of the Palestinians, the wars and enmities of the Middle East. But This Place is not an act of photojournalism, nor does it contain — or send – a clear, unified message."

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IV. Geographies of Photography

IV. Geographies of Photography | Photography Now | Scoop.it

Over the last few weeks I’ve been laying out some ideas about what photography has become, and have begun to articulate some of the ways I use to think about it. In previous posts, I wrote about replacing a more conventional idea of photography with the idea of seeing machines and put forward the idea of “scripts” to begin understanding how seeing machines function, i.e. how they act upon the world.

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Ruin Nation: The Ruin in Art and Photography | Disphotic

Ruin Nation: The Ruin in Art and Photography | Disphotic | Photography Now | Scoop.it

Ruin Lust, a new show at Tate Britain co-curated by Brian Dillion, looks at the figure of the ruin in European art from the eighteenth century, when the intellectual revolution of the enlightenment imbued these sites with entirely new symbolic meaning.

Mario Pires's insight:

"Perhaps the camera’s magnetic attraction to these sites and sights of desolation reflects the fact that the photograph itself has something of the sense of a ruin about it. A temporal paradox of sorts, the photograph is always a trace of the past which lingers on into the present. The decay it faces is less clearly physical (particularly in the age of digital media) but rather is interpretive."

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Q & A with Shane Lavalette

Q & A with Shane Lavalette | Photography Now | Scoop.it

Shane Lavalette is the Director of Light Work in Syracuse, NY. I asked him a few questions about Light Work's print program, basketball, and related topics.

Mario Pires's insight:

"The music industry and the art world have a lot of things in common, but there are also many ways in which music and visual art are very different experiences. Viewing photographs online for me personally is in some ways equivalent to the .99 cent download, or even a free streaming service. It’s readily available and completely enjoyable to listen to (or look at). But, to keep the music analogy going, seeing a considered exhibition or photobook is a bit more like sitting down with an LP, opening it up, putting it on, and really listening. And then having something limited or unique is a bit like seeing that band play live, where you know you’re experiencing something special. This is all coming from someone that still enjoys vinyl records, cover art, sleeves, and the physicality of music, so this is all very subjective. I have certainly seen a few online or app-based photographic projects that are immersive and powerful, but not with the same consistency as printed photobooks."

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The Swap

The Swap | Photography Now | Scoop.it

 Stuart Pilkington is known throughout the community for bringing photographers of all kinds together.  From fine artists to editorial photographers, his projects are designed to showcase various images revolving around a singular prompt.  Not only are they fun pitstops for everyday online browsing, but they have become useful tools, cataloging photographers and their various genres, styles, and subjects.

Mario Pires's insight:

The Swap is collaborative creation, it enables dialog between photographers, something we should all embrace in "photoland". What a great idea.

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Aujourd’hui, caméra est morte

Aujourd’hui, caméra est morte | Photography Now | Scoop.it
Another camera exploded this week. I should be more careful. 
To be more precise, a piece of Instax film exploded inside my camera. You've heard the expression "coming apart at the seams"? This is what the photo did.
Mario Pires's insight:

Blake Andrwes had a problem with is Instax camera, and while he was trying to clean it, it produced some unique photographs.

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Art, Hyperinflation and a Financial System on the Verge of Collapse

Art, Hyperinflation and a Financial System on the Verge of Collapse | Photography Now | Scoop.it
Francis Bacon’s ‘Three Studies for a Portrait of John Edwards’ is expected to make around £48 million.
Mario Pires's insight:

"In this blog post I want to offer an alternative reading behind this supposed boom in the art market. Might it be possible that the value of artworks at the top end actually remains broadly speaking the same? Is it not actually the currency that is used to purchase the artworks that is worth less? In other words, rather than the value of the art work rising, is it not the value of the currency that buys the artwork that is actually falling?"

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Radical Freedom: Gareth McConnell, From Belfast to Ibiza

Radical Freedom: Gareth McConnell, From Belfast to Ibiza | Photography Now | Scoop.it
Photographer Gareth McConnell speaks to Anne-Celine Jaeger about his recently published book Close Your Eyes. They met in London to discuss civil liberties, mass communion, Ibiza and printing techniques.
Mario Pires's insight:

"The title of the book, Close Your Eyes, refers both to the aspect of getting completely off your tits, that feeling of ecstasy, of losing yourself, but also to closing your eyes to the horrors of all that’s going on. It’s like we’re encouraged to get off our head but discouraged from participating or understanding the world around us."

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Beautiful Lies at Giverny: Vibrant Polaroids by Miranda Lichtenstein

Beautiful Lies at Giverny: Vibrant Polaroids by Miranda Lichtenstein | Photography Now | Scoop.it

At first glance, Miranda Lichtenstein’s Polaroids may seem to be simply vibrant studies of flowers. But look a little closer, and they get just a little less bright – and even more interesting.

Mario Pires's insight:

In a sense, I’m always photographing where I am,” Lichtenstein says. “It’s not necessarily going out on the street and shooting there — but I’m certainly pulling from the environment.”

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Twin Visions: Joel-Peter Witkin and Jerome Witkin

Twin Visions: Joel-Peter Witkin and Jerome Witkin | Photography Now | Scoop.it
Identical twins hold a psychic connection–stories of twins separated at birth leading mirrored lives are not uncommon.
Mario Pires's insight:

"History has been populated with great numbers of artistic families – Marcel Duchamp’s siblings Jacques Villon, Raymond Duchamp-Villon and Suzanne Duchamp come to mind, as do art-dynastic families going back centuries like the four generations of Bruegels in the 16th century, and before them, Lucas Cranach and Hans Holbein and their sons."

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L’image conversationnelle. Les nouveaux usages de la photographie numérique

L’image conversationnelle. Les nouveaux usages de la photographie numérique | Photography Now | Scoop.it

Réalisé par Steven Spielberg à partir d’une nouvelle de Philip K. Dick, le film Minority Report, diffusé en 2002, est réputé pour la crédibilité de ses projections technologiques. Dessinant l’univers de 2054 à partir de propositions d’un groupe d’experts, il est célèbre pour son anticipation des interfaces tactiles. Outre la visualisation des images mentales, il prédit la généralisation de l’identification optique à des fins de surveillance ou de profilage publicitaire.

Mario Pires's insight:
André Gunthert publishes on the blog Culturevisuelle, the article he wrote for d’Etudes photographiques (printemps 2014), to widen the discussion about the issues he writes about.
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François Boutard's curator insight, April 15, 1:45 AM

De la photographie à l'image conversationnelle : passionnant !!!

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The photobook today - Telegraph

The photobook today - Telegraph | Photography Now | Scoop.it
Digital technology has allowed anyone to become a published photographer, yet the market for seminal titles continues to flourish. So what has happened to the photobook?
Mario Pires's insight:

Photobooks are the place where photographers can be more individual. There’s not so much pressure on having a signature style as there is in a gallery."

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The art world we deserve? - FT.com

The art world we deserve? - FT.com | Photography Now | Scoop.it

The term “art world” was coined in the mid-1960s by Arthur Coleman Danto, the influential American critic and pioneer of art theory who died in October 2013. Unlike the traditional art of representation, which sought to manifest the power and influence of the Church, the aristocracy and the haute bourgeoisie as beautiful, good and true, today’s art world stands for the complex referential system of contemporary art that is only explicable in its economic, sociopolitical, academic and philosophical contexts.

Mario Pires's insight:

"Art as a religion seems absurd but hits the nerve of a society that, beyond the weary power pragmatics of western politics and unresolved worldwide cultural struggles, looks for salvation in the postmodern era. It’s about meaning and greater significance. The art world is a model of participation in the spirit of the old surrealist slogan, “Dreams that Money Can Buy.” The dream factory of art may be accessible to all, regardless of the size of their wallet. But for top art works, top prices are being paid. The art bubble is not going to burst."

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migueltacoronte's curator insight, April 17, 4:28 AM

High quality global journalism requires investment. Please share this article with others using the link below, do not cut & paste the article. See our Ts&Cs and Copyright Policy for more detail. Email ftsales.support@ft.com to buy additional rights. http://www.ft.com/cms/s/2/498f5cca-bfce-11e3-b6e8-00144feabdc0.html#ixzz2z8s59s1N

Danto dated the fall to April 21 1964, when Andy Warhol first presented the Brillo boxes at New York’s Stable Gallery as the American consumer version of Marcel Duchamp’s ready-mades. “And that’s supposed to be art?” was the outraged response to pop art, particularly among the representatives of the New York School around Clement Greenberg, who wanted to establish a specifically American art with abstract expressionism and, in a second phase, colour field paintings, in contrast to the Eurocentrism of the École de Paris

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Paul Blackmore At Water’s Edge

Paul Blackmore At Water’s Edge | Photography Now | Scoop.it

At the turn of the new millennium Australian photographer Paul Blackmore packed up his life in Sydney and moved to Paris with the intent of furthering his career as a photojournalist. Here in this enclave of creativity and collaboration Blackmore quickly found his feet. 

Mario Pires's insight:

While I was shooting I was thinking about how in a globalized world water ties us together. We are now so interconnected and that’s one of the elements that I tried to bring into this project,”

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migueltacoronte's curator insight, April 17, 4:30 AM

Here in this enclave of creativity and collaboration Blackmore quickly found his feet. Within a short time he was shooting for Agence Rapho and traversing the northern hemisphere creating photo essays for the likes of Time, L’Express, Le Monde and Geo.

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The Weekly Edit: Ethan Pines: Forbes Magazine

The Weekly Edit: Ethan Pines: Forbes Magazine | Photography Now | Scoop.it
ForbesArt and Design Director:  Robert Mansfield
Photo Editor: Meredith Nicholson
Photographer: Ethan Pines
Retouchers: Rebecca Bausher and Gretchen Hilmers
Mario Pires's insight:

"My tough moment came at the shoot when Doug Leone, the head of Sequoia Capital, refused to be out in front of everyone on the cover as Forbes had planned. He wanted this to be about the founders, not about himself. Which is understandable. I’m standing there at the shoot, in front of 14 billionaires who are giving us 30 minutes, thinking, OK, what now? Do I argue on behalf of my client and jeopardize the good vibe at the shoot? No, but maybe there’s a middle ground. We compromised on having him second row, somewhere just off center. I scrapped my pre-laid plan for arranging everyone and did it on the fly."

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Beyond the Photoshopping: Privilege, Poverty and the Washingtonian’s Jay Carney Spread — BagNews

Beyond the Photoshopping: Privilege, Poverty and the Washingtonian’s Jay Carney Spread — BagNews | Photography Now | Scoop.it
If Jay Carney is the public face of the Obama administration, what his family is doing here -- the Washington area being the richest in the nation -- is demonstrating an obscene degree of plenty.
Mario Pires's insight:

Politicians, affluent lifestyle, product placement and pictures of people with shallow pockets. Photos have power, even more when you join such extremes on the same page.

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Paris : Pierre Boulat L'élégance nostalgique

Paris : Pierre Boulat L'élégance nostalgique | Photography Now | Scoop.it

Pierre Boulat, one of the great French photographers who worked for the famous American magazine LIFE, covered current events across the world for much of the second half of the 20th century. Today the Cosmos Galerie, with the participation of Durev Events, is exhibiting a lesser-known but more glamorous aspect of his work: fashion.

Mario Pires's insight:

"With his luminous vision, Boulat was able to capture the ambiance of the postwar haute couture fashion houses, and he brought fashion models, once confined indoors, out into the street, showcasing the seductive, distinguished elegance of these uniquely skilled and creative designers of legend."

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Fashion in the Age of Instagram

Fashion in the Age of Instagram | Photography Now | Scoop.it
The photo-sharing app has changed the way fashion is made, seen and shared.
Mario Pires's insight:

Fashion has become bi-dimensional, It’s just flat. I see that designers, especially young designers, are considering the shapes and volumes in a totally different way; the colors, also. I think they pay much more attention to the photogenic value of an outfit.” Asked why, she replied, “It’s the web, definitely, that has changed the language.”

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Ulrik Tofte - The Key is Not to Blink | LensCulture

Ulrik Tofte - The Key is Not to Blink | LensCulture | Photography Now | Scoop.it

Africa is changing. 
All over the continent you see a growth in the middle-class and with that follows a focus on the individual. Ghana is not there yet, but you see small changes. This series tries to focus on the growing individuality, where personal ambition, expectations and dreams exceed the basic necessities. 

Mario Pires's insight:

Africa is changing, and that is good, but why are we always tend to patronizing them and worrying about loss of "traditions" ?
 

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Alvin Langdon Coburn, British, b. United States 1882 – 1966
Miss...

Alvin Langdon Coburn, British, b. United States 1882 – 1966<br/>Miss... | Photography Now | Scoop.it
Alvin Langdon Coburn, British, b. United States 1882 – 1966
Miss Morris and Class ca. 1922
digital positive from original negative, gelatin on nitrocellulose roll film
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The Photobook: A History Volume III, Martin Parr and Gerry Badger - Collector Daily

The Photobook: A History Volume III, Martin Parr and Gerry Badger - Collector Daily | Photography Now | Scoop.it

Of making many books about photobooks there is no end, or so it has seemed in the last decade. Since the turn of the millennium, new histories on this formerly arcane topic have appeared almost every year.

Mario Pires's insight:

"Before these books, scholarly interest in the subject was confined to a few specialists in auction houses and museums. Parr-Badger have treated the photobook with respect, noting its special history, one that has developed parallel and separate from photography for galleries and magazines. Taking Americans out of their comfort zone, they aim to enlarge appreciation for photography books far beyond those select few produced for the art market on these shores. Both their politics and aesthetic is populist, in the left-of-center cultural studies mode that has flourished since the 1960s in British journalism."

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Mexico Notebook: Q&A with Jorge Taboada

Mexico Notebook: Q&A with Jorge Taboada | Photography Now | Scoop.it

Hannah FrieserJaime Permuth and I have begun a collaboration to explore contemporary photography in Mexico. 

Mario Pires's insight:

"Some of us began shooting without a purpose, without a theme. We discovered over time that there are messages encrypted in the images, patterns that repeat themselves. From there came recurrent themes that have much to do with form, geometry and rhythm. Later I found time to learn how to create a well-planned and justified photographic project. I was selected in Programa de Fotografía Contemporánea (PFC '11 ) and then a PhotoEspaña portfolio review in 2012, events that definitively determined my career as a visual producer."

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Munem Wasif - Belonging | LensCulture

Munem Wasif - Belonging | LensCulture | Photography Now | Scoop.it
In this beautiful photobook, we gain an insider's artful and intimate view of the rich variety of daily life in Old Dhaka, Bangladesh (Reminds me why I like black-and-white photography so much — AMAZING scenes that feel like elaborate dreams.
Mario Pires's insight:

"The sequencing of the various scenes creates, as Christian Caujolle writes at the end of the book, a 'reinvention of a story that isn't there but nonetheless has the freedom to exist'. In other words, it allows the viewer to wander the streets of Old Dhaka on his or her own terms, to imagine stories and narratives, and to daydream about what Old Dhaka might be like."

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