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A Day at the Riot - NO CAPTION NEEDED

A Day at the Riot - NO CAPTION NEEDED | Photography Now | Scoop.it

The web is awash in images of the battle in Kiev’s Maidan Nezalezhnosti (The Square of Independence) between protestors calling for both the incorporation of the Ukraine into the EU, as well as the resignation of Ukrainian President Yanukovych.

Mario Pires's insight:

The Ukranian Berkut special riot police unit poses for a group shot on the place where they are working is a visual sign of the times.

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Photography Now
The role of photography today
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Campagne Hermès 2015: In the Eye of the Flâneur, Harry Gruyaert

Campagne Hermès 2015: In the Eye of the Flâneur, Harry Gruyaert | Photography Now | Scoop.it

Every year for its ad campaigns, Hermès is faced with a challenge: how can they translate the company’s spirit, innovations and traditions into pictures? Magazines can showcase their products, but how can the company showcase the unique Hermès style?

Mario Pires's insight:

"What happens when we wander through a city? We see a girl in the distance, the city is moving. It’s very important. That gave us leads but also discipline. And that’s one of the joys of the campaigns we produce. An encounter takes place between us and the photographer. At Hermès, we like to have encounters with artists and musicians. It sparks a kind of renewal of the image and expression that makes us tick."

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YPF 2015: The Emergence of Young Burmese Photographers Minzayar : Peace be with you

YPF 2015: The Emergence of Young Burmese Photographers Minzayar : Peace be with you | Photography Now | Scoop.it

The 7th Edition of the Yangon Photo Festival organized by the French Institute in Myanmar with the support of the French Embassy and International Media Support (an NGO funded by Denmark Sweden and Norway), under the theme of I LOVE YOU was opened on the 14th of February.

Mario Pires's insight:

"Their faces transfigured by bewilderment and shock, tears of pain, laughter of joy, illuminated solely by the cold screen glow, have formed an extraordinary poignant series of human emotions."

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Celebrating the Negative : Henri Cartier-Bresson by John Loengard

Celebrating the Negative : Henri Cartier-Bresson by John Loengard | Photography Now | Scoop.it

The book, Celebrating the Negative, is about the original matrix on which some of the most important photographers of the 19th and 20th centuries caught their most famous images.

Mario Pires's insight:

"As World War II began in 1939, Henri Cartier-Bresson cut his 35-millimeter negatives apart from the frames adjacent to them in order to fit his favorite frames into a small Huntley & Palmers cookie tin for safekeeping. Nearly 50 years later, George Fèvre, Cartier-Bresson’s printer, at Picto Labs in Paris, put a 1932 negative on the light table."

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Beyrouth après la guerre par Gabriele Basilico

Beyrouth après la guerre par Gabriele Basilico | Photography Now | Scoop.it
En 1991, la Fondation Hariri invite 6 photographes à documenter le centre ville de Beyrouth en ruines après un conflit armé de quinze ans.
Mario Pires's insight:

"Il s’agissait pour moi de vaincre ce sentiment de douleur que j’avais éprouvé dès l’instant où j’ai pénétré dans cette ville dont la beauté était aussi impressionnantes que sa destruction."

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Denver: The Month of Photography 2015 Mark Sink, the Director

Denver: The Month of Photography 2015 Mark Sink, the Director | Photography Now | Scoop.it

MoP started in 2004. The founder Mark Sink was inspired by Arles and Houston FotoFest, Here his presentation for the festival MoP - Month of Photography Denver 2015.

Mario Pires's insight:

"Great things happen with power in numbers, be it a art gathering a art movement or a group of galleries in association with the same goal. I was inspired by Arles France and the Houston FotoFest in the mid 1990s."

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Travailler et se saouler...jusqu'à bout de forces

Travailler et se saouler...jusqu'à bout de forces | Photography Now | Scoop.it

Kenji Kawamoto est un artiste japonais. À Tokyo, il a capturé des businessmen ivres au petit matin qu’il compile dans une série intitulée « Yopparai Tengoku », en français « Le paradis des ivrognes ».

Mario Pires's insight:

"Chacun a ses boulets, mais tout le monde vit dans un rythme infernal. On boit avec ses amis pour se récompenser d’une dure journée de travail et ensuite faire face, tel un guerrier, à la journée suivante. Nombreux sont ceux à souffrir de cette situation au travail."

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ERIC SOUTHER

ERIC SOUTHER | Photography Now | Scoop.it
BY STEVE BISSON
1. Tell us about your approach to visual art. How it all started?
It is important to my work that the initial images are performative, i.e. created in real time. It allows me to have a dialogue with what I am creating in the moment.
Mario Pires's insight:

"For many years now I have been developing interactive real-time systems to create my work, which I thought was very free and exploratory, however not compared to analog. Analog is a very immediate way to experiment with video and audio. It is quite different to twist knobs, push buttons and make physical patches (i.e. connections of video signals via cables to different areas of the system) than it is to code and construct software. The latter is a completely different mindset than analog. The immediacy of analog creates a feedback loop between the artist and the visual."

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Freelance Art Producer, Cindy Hicks Shares Her Thoughts on Portfolios and Websites

Freelance Art Producer, Cindy Hicks Shares Her Thoughts on Portfolios and Websites | Photography Now | Scoop.it

A few years ago, our blog featured Cindy Hicks and celebrated all that was special about her beyond being an art buyer/producer.  Well, since then her path has taken her to many varied places and given her many opportunities to work with great creatives and photographers.

Mario Pires's insight:

"I look at everything, I like to see the scope of the artists skill & what they choose to show. If I am only looking for something very particular; like food I may just scan that work."

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The Daily Edit – Bloomberg Business Week: Angie Smith

The Daily Edit – Bloomberg Business Week: Angie Smith | Photography Now | Scoop.it

Bloomberg Business Week
Creative Director: Rob Vargas
Deputy Creative Director: Tracy Ma
Director of Photography: Clinton Cargill
Photo Editor: Romke Hoogwaerts
Photographer: Angie Smith

Mario Pires's insight:

"Clinton and I decided that the best and most interesting way to approach this festival was from a documentary/reportage approach, capturing not only the minerals and the people who attend this festival, but the entire context in which it exists- which is very bizarre. One of the most interesting aspects of this festival is that many of the dealers set up shop in hotel rooms for several weeks at a time"

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La photo peut-elle être un art brut ?

La photo peut-elle être un art brut ? | Photography Now | Scoop.it
Aujourd’hui, l’art brut ne fait plus débat. Il a intégré le champ de l’histoire des arts. Il a sa place dans les musées, certains lui sont même consacrés.
Mario Pires's insight:

"Après tout, qu’une pratique soit obsessionnelle et rejoigne des codes artistiques ne devrait pas suffire à l’intégrer à l’art. De plus,il est certes intéressant que la photographie soit métissée (avec du dessin, de l’écriture), mais cela relève plutôt d’une lecture contemporaine de la photographie. Enfin, que la découverte d’un artiste soit tardive ou posthume fait surtout l’affaire de ceux qui vont exploiter le phénomène. Mais surtout, ces artistes amateurs qui n’ont jamais exposé ni-même pensé à le faire, constituent une matière première totalement malléable pour ceux qui la montrent : certains commissaires et galeristes peuvent plier les œuvres à une présentation et une mise en espace qui va tirer les œuvres du côté de pratiques artistiques contemporaines."

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Kara Woodward's curator insight, March 16, 2:06 PM

en francais....

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Les extravagantes by Leendert Blok, Xavier Barral Editions

Les extravagantes by Leendert Blok, Xavier Barral Editions | Photography Now | Scoop.it

The publisher Xavier Barral has just released Les extravagantes, a book gathering the portraits of flowers shot in autochrome by  Dutch photographer Lendeert Blok who, in the 1920s, experimented with  color process and the use of the panoramic format.

Mario Pires's insight:

"He captured flowers like objects of desire through an austere staging and subtle light which revealed the colorful nuances of autochrome, showing a timeless plant world where corollas, petals and buds were sublimated by the chiaroscuro."

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A Conversation with Katrien de Blauwer

A Conversation with Katrien de Blauwer | Photography Now | Scoop.it

I’m not sure most photographers are aware of what’s going on in the world of collage. Much like photography itself, collage is easy to do and almost impossibly hard to do well.

Mario Pires's insight:

"I would like to describe myself as a “photographer without a camera”. I’m re-reading and re-using photographs. The framing is not taking place in the lens, but in the eye. My works calls to mind the technique of photomontage or film editing. They’re stills but nevertheless preserve a filmic vibration."

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The World Press Photo Controversy

The World Press Photo Controversy | Photography Now | Scoop.it

It was a sad week for the World Press Photo—sad and a little hypocritical. These outbursts of political correctness have become unbearable. Michele McNally, president of this year’s jury and director of photography for The New York Times, was handed over to the angry mob.

Mario Pires's insight:

"Apart from a few thousand people willing to risk their lives to bear witness at any cost, nobody is interested in the World Press Photo today. Photojournalism bores everyone, and now the only appeal of Perpignan is nostalgia. It’s sad but true."

I tend to agree with this, photography has changed dramatically, and there is no gain in denying the facts, we are not in a fantasy "golden age of photojournalism" anymore (and very few lived it anyway).

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Se perdre c'est magnifique

Se perdre c'est magnifique | Photography Now | Scoop.it

Le photographe italien Massimiliano Pugliese a tenté de se perdre dans des paysages nocturnes. Sa série « Getting lost is wonderful » est une ode à la solitude.

Mario Pires's insight:

"Massimiliano fait poser ses sujets la nuit dans des ambiances presque surréalistes. La nuit n’est plus sombre. Au contraire, elle nous éclaire."

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Ken Grant – No Pain Whatsoever » British Journal of Photography

Ken Grant – No Pain Whatsoever » British Journal of Photography | Photography Now | Scoop.it
 “Rush slowly”, a quote from Josef Sudek, is something of a mantra for Ken Grant, the Liverpool native who, over a 20 year career, has worked ceaselessly. Now his time has come, writes his former pupil Colin Pantall
Mario Pires's insight:

"A book is a consolidation of sorts. A lot are compromised by how many pages or how much time you’ve got; ideally one day I’d like to see all my work in one big book, but whether that will happen I don’t know. Projects get finished in the sense that other things come up and take priority, but like the Beaconsfield Centre, I always want to go back. It’s never finished."

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INTERVIEW: “Frank Horvat with Helmut Newton” (1986) | AMERICAN SUBURB X

INTERVIEW: “Frank Horvat with Helmut Newton” (1986) | AMERICAN SUBURB X | Photography Now | Scoop.it

Frank Horvat : I think that if I had to explain Helmut Newton to someone who had never heard of him, the first thing I would say would be : “He is the one who has turned the tables on the whole business”. You said it yourself, something like “making the system work for you.”

Mario Pires's insight:

"I like the idea of trespassing. I got to write that down too. It’s quite true that what I am aiming at, even when I take portraits, is to get a scandalous picture. I would love to be a paparazzo. I was aware of Weegee in the fifties, I was turned on by Brassai and by Dr. Salomon. He was traspassing, of course. In the most outrageous but in the chiquest possible way. Lartigue was very chic too, but I don’t think he trespassed, he was part of the set."

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La photographie sous liberté programmée ?

La photographie sous liberté programmée ? | Photography Now | Scoop.it

Jamais, peut-être, la photographie n’a-t-elle recelé autant de possibles : la diversité des moyens à notre disposition, leur facilité d’utilisation couplée à une sophistication technique sans précédent nous assurent des résultats que la photographie argentique rendait beaucoup plus incertains. Enfin libres ?

Mario Pires's insight:

"C’est peut-être Vito Acconci qui nous donne la réponse à travers l’une de ses actions photographiques réalisées autour des années 70. Celle-ci s’intitule Throw (Jeter). Sans regarder dans le viseur, il arme son bras vers l’arrière et clic, prend une photo. Puis il fait mine de jeter son appareil vers l’avant et clac, prend une seconde photo. Deux images sans intention (du moins sans intention par rapport à ce qui est visé et capté par l’appareil). Deux images qui correspondent à un mouvement du corps de l’artiste couplé à une réalisation par la machine. Avec l’idée que, si l’intention de l’artiste et le programme de l’appareil se désolidarisent, alors, les deux redeviennent libres."


Throw Away the Camera......

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Centre Pompidou: What is Photography?

Centre Pompidou: What is Photography? | Photography Now | Scoop.it

Clement Chéroux is the head of the photography department at France’s national museum of modern art, the Centre Pompidou. Karolina Ziebinska-Lewandowska is a curator in the photography department. They co-curated the exhibition Qu’est ce que la photographie? (“What is photography?”).

Mario Pires's insight:

"What interested us was an approach to this question through practice rather than theory, to exhibit the artists who put theory into practice. That might be what sets this exhibition apart."

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Liège: Anthony Anciaux’s “Voyage en Wallifornia”

Liège: Anthony Anciaux’s “Voyage en Wallifornia” | Photography Now | Scoop.it
I admire my photographer colleagues who take 20-hour flights around the world and come back with fantastic stories. But all I need to do is open my door and I’m already in Wallifornia.
Mario Pires's insight:

"A good photographer is a good artist. They should stir emotion with their work."

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ISIS Art Attack: Less than Meets the Eye?

ISIS Art Attack: Less than Meets the Eye? | Photography Now | Scoop.it
Excuse me for being that skeptical about Islamic State propaganda videos.
Mario Pires's insight:

"If the amount of authentic art in the ISIS video truly is nominal, either to hide the terror group’s true motives and/or because they weren’t handling the real goods, I guess the question is how much the media, again, is enabling this organization and how much (more) we are being manipulated?"

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MICHAEL DANNER. A CRITICAL MASS

MICHAEL DANNER. A CRITICAL MASS | Photography Now | Scoop.it

With Critical Mass I document a technology which was disputed and the resulting debate changed society over the last decades. From a biographical point of view I am traveling back in time to places I had only heard of when I was a teen but never came close to or had been inside.

Mario Pires's insight:

"Photojournalism refers to an event which took place at a certain time and place. This could be an image taken at a press conference depicting the meeting of politicians. It documents an event and less the intentions of the photographer.

Documentary photography makes something visible which is overseen. The photographer has an intention, he wants to draw attention to an issue in society or celebrate life. Therefore it is always taken from a subjective point of view."

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Le visage sombre et poétique de la drogue

Le visage sombre et poétique de la drogue | Photography Now | Scoop.it
Quand il s’agit de drogues en photographie, le spectateur est habitué aux images grainées et floues dépeignant des mondes sombres et fêtards.
Mario Pires's insight:

"Dans sa série Only god can judge me, Matthieu Gafsou a cherché à dépeindre l’expérience de personnes dépendantes de la drogue.

Le titre du livre appelle bien sûr au non jugement de pratiques illégales. Mais au delà de cette première lecture, il différencie également l’esthétique photographique de Matthieu Gafsou par rapport à la façon dont la drogue est habituellement représentée en photo. Ici pas de fêtes, pas de flash, pas d’immeubles désaffectés. Le photographe tente de s’éloigner du cliché."

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Time: the space between

Time: the space between | Photography Now | Scoop.it

When I was little my dad, an avid fisherman, would take me with him on his outings. Fishing I realized very quickly was ALL about waiting. It often resulted in a fish, for dad.

Mario Pires's insight:

"All day we’d chased ‘drama’ – the thrill of the immediate – it became a drug, get there grab it, go here grab it, on to the next place, grab more. Now, we wait. Wait and let the magic come to us. Reward us for our patience and observation."

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Attention Art Producers and Agents: Looking For Some Guidelines for Hosting a Successful Portfolio Show? The Community Table Has Some Thoughts.

Attention Art Producers and Agents:  Looking For Some Guidelines for Hosting a Successful Portfolio Show?  The Community Table Has Some Thoughts. | Photography Now | Scoop.it

The Community Table Minneapolis event on “The Art of the Portfolio Show” shared so much insightful information that we thought it would be helpful to create a guide for art producers and reps on how to host a successful portfolio show.

Mario Pires's insight:

 "Cheerleading is key. The more you can promote the show from within, the more people will attend. Enthusiasm is contagious."

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Ken Hermann: Flower Man

Ken Hermann: Flower Man | Photography Now | Scoop.it
Danish photographer, Ken Hermann has created a typology of flower sellers in India that are stunning in their simplicity.
Mario Pires's insight:

"I first visited Calcutta three years ago, when I was shooting coal miners in Jharia, and on that trip I visited the flower market.  Ever since then, I have held on to the idea of returning to take portraits of the sellers, with their magnificent garlands often appearing in big contrast to their own dusty and sweat-soaked attire."

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