Photography Now
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Photography Now
The role of photography today
Curated by Mario Pires
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A novelist and a photographer walk into a theater…

A novelist and a photographer walk into a theater… | Photography Now | Scoop.it

Over the three years I’ve been writing The Literate Lens, few events have screamed “blog post!” as loudly at me as the one I attended last night at Symphony Space, in which Sally Mann, the acclaimed photographer (who, by her own admission, rarely leaves her Virginia home), was in conversation with Nashville-based novelist Ann Patchett.

Mario Pires's insight:

"Mann thinks photography is easier. “So much is given to you as a photographer,” she said—from subjects to light and mood. “As a writer, you have to create the choices you make. I can’t wait to go back to being a photographer!” Patchett, who writes both fiction and nonfiction, said that photography was more analogous with nonfiction in that the subject already exists, whereas in fiction, “you have to make up the trees.” However, she contested the idea that photography was easier than writing, saying, “I couldn’t begin to do what you do,” then deadpanning wistfully, “I do like the idea of going outside, though. That sounds nice.” "

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Colloque “Où en sont les théories de la photographie?”

Colloque “Où en sont les théories de la photographie?” | Photography Now | Scoop.it

Durant la majeure partie du XXe siècle, la pratique photographique s’est accompagnée d’un important travail d’élaboration théorique, qui a contribué à structurer le champ. L’arrivée des technologies numériques a accéléré l’essor des usages de l’enregistrement visuel. Qu’en est-il de la préoccupation théorique dans ce nouveau paysage?

Mario Pires's insight:

"Les caractéristiques de l’enregistrement définissent-elles les contours des pratiques? Une approche générale de la photographie est-elle encore légitime? Les formes de l’authenticité sont-elles liées à une technologie?"

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Mise en scène et photo de presse : équation incompatible ? Entretien avec Emile Loreaux

Mise en scène et photo de presse : équation incompatible ? Entretien avec Emile Loreaux | Photography Now | Scoop.it

Quand on pense aux photographies de presse, ce sont avant tout des images de reportages qui nous viennent à l’esprit. Pourtant, un bon nombre de celles-ci sont aussi mises en scène et assumées comme telles. Qu’est-ce qu’une image de presse mise en scène ?

Mario Pires's insight:

"Je suis venu à me mettre en scène pour essayer d’aller un petit peu plus loin dans ce que je voulais faire passer dans une image, dans ce que je voulais dire. Je trouvais que le reportage limitait trop ma manière de traiter un sujet. La mise en scène me permet finalement d’apporter d’avantage de subjectivité et de jouer avec le réel, sans pour autant avoir le sentiment de m’éloigner d’une image qui parle de lui. C’est une manière de me positionner, de me placer, d’essayer de dire quelque chose en mon nom."

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Vicente Bertomeu's curator insight, July 24, 2015 12:53 PM

Estilista abmientocapilar

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London : Vee Speers at The Little Black gallery

London : Vee Speers at The Little Black gallery | Photography Now | Scoop.it

The Little Black Gallery presents Vee Speers new series Bulletproof in London, through May 16th, 2015.The new series follows six years after her infamous series The Birthday Party. Continuing the theme Speers now photographs these same children.Since then, much has changed - their bodies are taller, longer. Their faces have thinned and transformed. Speers has recorded it.

Mario Pires's insight:

"She has taken them to imaginary lands, playing fields, and curious places where these characters are ever prepared and always win. Vee Speers eternalises the fragile beauty of adolescence. She photographs a time that follows the first loss: that of childhood."

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Suzanne Perrottet: A Fragmentary Discourse of Bodies in Subtle and Grotesque Exertion

Suzanne Perrottet: A Fragmentary Discourse of Bodies in Subtle and Grotesque Exertion | Photography Now | Scoop.it

When dancer Suzanne Perrottet died in 1983, she left behind an extensive archive. Amongst the notes, letters, documents, and photographs were a number of banana boxes full of magazine and newspaper clippings. The boxes remained in the storeroom of Swiss photographer Giorgio Wolfensberger’s house for more than 30 years. When they were finally opened, they were found to contain tens of thousands of carefully catalogued images of human bodies in motion. Bewegungen (Movements) reproduces a small selection of this collection.

Mario Pires's insight:

"Perrottet was an obsessive recorder of the physical possibilities of the human body, from its most subtle gestures to its most grotesque exertions. Bewegungen offers a glimpse of this obsession."

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Collecting the Japanese Photobook

Collecting the Japanese Photobook | Photography Now | Scoop.it

Ryuichi Kaneko is a leading historian of Japanese photobooks, and over the course of four decades he has amassed a formidable collection of twenty thousand volumes, including magazines and catalogues.

Mario Pires's insight:

"In Japan the photobook has had special significance for photographers from the 1930s onward; from the 1950s to the 1970s, there was a widely accepted understanding that there were certain modes of expression that could only be achieved in the form of a photobook. The print was forgotten to a certain degree."

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Kara Woodward's curator insight, May 12, 2015 2:28 PM

the Japanese photobook is a wonderful genre

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Views & Reviews Martin Parr on Paris Ihei Kimura 木村伊兵衛 Photography

Views & Reviews Martin Parr on Paris Ihei Kimura 木村伊兵衛 Photography | Photography Now | Scoop.it

Ihei Kimura… was Japan’s leading photographer of the immediate postwar period, and represented the dominant photographic aesthetic of that era: social documentary based on a broadly humanistic approach… Kimura… [was] influenced by classic photojournalism in the Cartier-Bresson mode, and [was] keen to set Japanese photography on a much more professional basis…

Mario Pires's insight:

"Ihei Kimura first attracted the world’s gaze when his photo collection of Paris,“Pari”, was released. At that time, he was traveling through several European cities and providing his photographic works to camera magazines. His color-photographs of Paris surprised everyone."

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Kara Woodward's curator insight, May 12, 2015 2:29 PM

one more scooped from Mario Pires

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La ronde de nuit des idées reçues

La ronde de nuit des idées reçues | Photography Now | Scoop.it

L’image a fait réagir, en France, à partir de sa reprise sous forme de tweet par le philosophe médiatique Michel Onfray, assortie d’un «sans commentaire» éloquent.

Mario Pires's insight:

Images deceive you, you can forge meanings just by placing your prejudices on a caption.

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Why Having Your Portrait Made Is Important

Why Having Your Portrait Made Is Important | Photography Now | Scoop.it
My friend Matthew Simmons and I did recently did a photo shoot with an amazing little girl named Desi Robinson. After sending Renee, Desi’s mother, the finished images and talking to her a few days after, something really hit me.
Mario Pires's insight:

"I personally believe that having your portraits made with an experienced photographer is such an incredible experience (and I’m not just saying that because I’m a photographer). Especially for women, it’s a wonderful way for us to be able see ourselves and our beauty the way other people see us. Sometimes it’s hard to look in the mirror day after day and uphold that confidence. But having someone who sees you as nothing but beautiful and is able to photograph you in a way that is able to show you that beauty, is an amazing thing to experience."

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Ed Bremner's curator insight, May 5, 2015 4:43 AM

Yep, I reckon Portraiture is really important, not just for women, but for everyone.  Is it important that it it taken by a professional....No, not really, but there is no doubt in my mind that it is easier for a 'professional' to get the required 'buy-in' from the sitter that guarantees a really worthwhile result.

Kara Woodward's curator insight, May 5, 2015 2:26 PM

nice piece

Vicente Bertomeu's curator insight, July 24, 2015 12:54 PM

Por qué retratarse

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Pictures Lie Louder Than Words

Pictures Lie Louder Than Words | Photography Now | Scoop.it

The two faces of "Boston Bomber" Dzhokhar Tsarnaev: Rolling Stone (July 2013); New York Post (April 23, 2015; image from a holding cell
surveillance video, July 2013). 

Mario Pires's insight:

"Seeing is believing—or so we're frequently told.  But seeing can also be deceiving, because we often only "believe" those things that match our existing views of the world. That's why Rolling Stone's dreamy cover photo of Dzhokhar Tsarnaev, the popular kid who got manipulated by his evil brother, was so widely reviled "

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Celebrating the Negative : Joe Rosenthal by John Loengard

Celebrating the Negative :  Joe Rosenthal by John Loengard | Photography Now | Scoop.it

Seventy years ago, four days after the landing on Iwo Jima, Joe Rosenthal of the Associated Press said he heard a rumor “about some guys going up the volcano to replace the American flag flying there with a bigger one.”

Mario Pires's insight:

People that come to photography in the digital age, don't realise the skiils reporters had to have to get great pictures without actualy peering to the camera to check it is ok, you only knew when the film was developed.

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Ed Bremner's curator insight, May 5, 2015 4:47 AM

 A wonderfully iconic image, now surrounded with controversy over whether it was set up or not....But does it matter?  Not in the slightest!  At least it was a 'neg' shot in one go, at one time, not a miss-mash of bits of image pulled together out of a series of digital images.

Vicente Bertomeu's curator insight, July 24, 2015 12:55 PM

negativo / positivo

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Yasmine Chatila vous observe la nuit à travers la fenêtre

Yasmine Chatila vous observe la nuit à travers la fenêtre | Photography Now | Scoop.it
Les photographes sont voyeurs. C’est bien connu.
Mario Pires's insight:

"Après s’être amusée avec les jumelles d’un ami, elle s’est mise à secrètement photographier des scènes nocturnes à travers la fenêtre d’appartements."

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Coco Chanel: Behind the sunglasses (by Douglas Kirkland, 1962)

Coco Chanel: Behind the sunglasses (by Douglas Kirkland, 1962) | Photography Now | Scoop.it

Douglas Kirkland, one of Look and LIFE magazine’s most noted photographers, spent three weeks with fashion icon Coco Chanel in 1962.

Mario Pires's insight:

"Over the course of 21 days, Kirkland documented Chanel in her Parisian apartment in the Ritz, traveling in between appointments by car, fittings with models, all while wearing her iconic hat. After proving himself as a fashion photographer, Kirkland developed a comfortable rapport with “Mademoiselle.”"

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Trop simple, la photographie ?

Trop simple, la photographie ? | Photography Now | Scoop.it
Mais qu’arrive-t-il à la photographie ? Partout, elle semble au sommet de sa popularité, mais voilà qu’elle se fait très discrète dans un salon aussi prestigieux que le Salon de Montrouge, manifestation consacrée à la jeune création contemporaine.
Mario Pires's insight:

"La question devient plutôt : pourquoi semblerait-il que la photo seule ne suffise plus et qu’elle soit même un peu ostracisée (voir les mots de Safouane Ben Slama) ? Serait-ce parce que la photographie a déjà ses festivals, ses institutions et ses circuits de diffusion ? Ou parce qu’elle est devenue une pratique plus marginale chez les étudiants des écoles d’arts ?"

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Black nude (by Jeanloup Sieff, 1979)

Black nude (by Jeanloup Sieff, 1979) | Photography Now | Scoop.it

“I’m proud of the two adjectives, superficial and frivolous.” – Jeanloup Sieff

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Andrew Sanderson: The Single Image

Andrew Sanderson: The Single Image | Photography Now | Scoop.it
A few weeks ago Andrew Sanderson reached out to me. He had read an interview I had written for rfotofolio where I mentioned the confinement of the photographic project–20 images and a statement, wrapped up in a neat bow.
Mario Pires's insight:

"In the last ten years, there has been a shift away from creating single images to creating work in projects, shot with intention, created around a conceptual idea or a way of examining the world. My belief is that this shift has come from a variety of reasons."

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Tina Barney Talks to Us About Her New Exhibition, The Passage of Time, and the True Meaning of Portraiture

Tina Barney Talks to Us About Her New Exhibition, The Passage of Time, and the True Meaning of Portraiture | Photography Now | Scoop.it

In decade in which we obsess over change, be it catastrophic or fortuitous, the photographs of Tina Barney continue to remind us of that which is constant. Beginning the 1980s, she has captured the world, her world, in large-scale analogue photographs, laying bare the push and pull of tension and familiarity that run beneath domestic life.

Mario Pires's insight:

"When looking back, it never ceases to amaze me how I started off my career thinking that things were going to change. Thirty years have gone by and very little has changed, at least as far as the situations in my own life. Once in a while they change, and from time to time, I photograph that."

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Tseng Kwong Chi: Performing for the Camera, aCurator

Tseng Kwong Chi: Performing for the Camera, aCurator | Photography Now | Scoop.it

Combining photography with performance, personal identity with global politics, and satire with farce, Tseng Kwong Chi (1950-1990) created a compelling body of work whose complexity is belied by its humor and grace.

Mario Pires's insight:

"Remarkably, Tseng made virtually all the works on view here in the course of just ten years, before his untimely death from AIDS-related complications at the age of 39."

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Argentina Notebook: Q&A with Gaby Messina

Argentina Notebook: Q&A with Gaby Messina | Photography Now | Scoop.it

Jaime PermuthEleonora Ronconi and I are collaborating to explore contemporary photography in Argentina. We're looking at trends and how they relate to traditions; events, institutions and venues; as well as pursuing conversations with curators, academics, gallerists and photographers on what's happening currently.

Mario Pires's insight:

"I am interested in surrealism within realism. Play, an invitation to get out of the routine, which can be recreating characters, I mean acting, or a play with a touch of grotesque. Or it could be lighting. I work with flashes, and the natural and artificial light of the place where I photograph. But the idea always gives me the rest."

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Chère Fleur, comment photographier au musée ?

Chère Fleur, comment photographier au musée ? | Photography Now | Scoop.it
D’un côté, grâce à la touchante spontanéité de notre ministre de la culture, l’autorisation enfin accordée de photographier au Musée d’Orsay (un peu en retard sur ce coup-là, par rapport à d’autres institutions).
Mario Pires's insight:

Museums have had a very difficult relation with photography. Art should be appreciated and shared, and photography should be part os this relationship.

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Duane Michals: A Quiet Conversation | Sean Kernan

Duane Michals: A Quiet Conversation | Sean Kernan | Photography Now | Scoop.it

Duane Michals had a major retrospective at the Carnegie Museum of Art that has moved to the Peabody Essex Museum in Massachusets, which is where I saw it. Shortly afterward I called Duane up and asked if we could talk. A month later we did, and here is the first part of that conversation.

If you’ve ever heard Duane speak in public you know he is a very energetic speaker, but this talk is quite different—quiet, ruminative and thoughtful. It is a Duane Michals not many people see.

Mario Pires's insight:

"If your own photography seems a little unsatisfying, seems to be running up against some kind of invisible blockage, listening to Duane might help to loosen whatever is constricting it. If, on the other hand, you feel that your photographic investigations are going just the way you want them to…then listening could really help."

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Baltimore : Devin Allen, unknown photographer published in Time

Baltimore : Devin Allen, unknown photographer published in Time | Photography Now | Scoop.it

This week TIME led with stories of the Baltimore riots that shook America. The cover reads “America 1968 2015: What has changed. What hasn’t.” The black-and-white photographs shows a young black man wearing a scarf as a mask, fleeing from the police.

Mario Pires's insight:

"The photograph corresponds to the photojournalist codes of a news magazine. But it has created an enormous amount of buzz due to the source of the photograph: an unknown and aspiring photojournalist on the scene who posted the picture on his Instagram account."

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Paris Photo LA 2015 :  Diana Thorneycroft - Fabien Castanier

Paris Photo LA 2015 :  Diana Thorneycroft - Fabien Castanier | Photography Now | Scoop.it

Diana Thorneycroft transports the public to a surreal dimension where staged totems of American culture and identity collide with allusions to her native Canada.

Mario Pires's insight:

"Moments of absurdity are cunningly juxtaposed with layers of serene landscapes and backdrops, interspersed with both somber and lighthearted characters."

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Armenian Association

Armenian Association | Photography Now | Scoop.it

With memorials of the 1915 Armenian genocide circulating through this week’s news cycle, it’s interesting to see how editors at The Boston Globe are using this photograph of photographs as a way to help viewers put a human face on the atrocities of war.

Mario Pires's insight:

"Are these individuals famous for being numbered among the victims of 1915? Or are they famous for some reason that has nothing to do with the war? Are we looking at a scene of admiration or lamentation? Are Globe editors counting on us to fill in the blanks, assuming we are going to see the faces of fame as the faces of genocide?"

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Portraits of Young Men and Women Affected by ‘Iran’s Marriage Crisis’

Portraits of Young Men and Women Affected by ‘Iran’s Marriage Crisis’ | Photography Now | Scoop.it

For Life Alone, Tehran-based photographer Majid Farahani takes an intimate and humanizing glimpse at the decreasing rate of marriage in Iran, focusing his gaze not on the statistics but on the young people whose lives are directly affected by what some are calling the country’s “marriage crisis.”

Mario Pires's insight:

"For the project, Farahani photographed approximately fifty single friends and acquaintances within their homes. Ultimately, he sees this generation as a point of departure from some of the more traditional aspects of Iranian life, but when asked whether he sees this transformation as something positive or negative, he declines to answer. “I prefer to to let my photography speak my mind,” concludes the artist."

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