Photography Now
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Photography Now
The role of photography today
Curated by Mario Pires
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JEFF WALL: “Michael Fried on Two Pictures by Jeff Wall” (2004) « ASX | AMERICAN SUBURB X | Photography & Culture

JEFF WALL: “Michael Fried on Two Pictures by Jeff Wall” (2004) « ASX | AMERICAN SUBURB X | Photography & Culture | Photography Now | Scoop.it

THINKING ABOUT Jeff Wall’s most recent exhibition in New York, a show of light-box pictures at Marian Goodman Gallery last spring, has led me to reflect on the more philosophical or, say, ontological turn his work has taken during the past four or five years. The central image in the show was Fieldwork. Excavation of the floor of a dwelling in a former Sto:Io nation village, Greenwood Island, Hope, University of California at Los Angeles, working with Riley Lewis of the Sto:Io band, 2003. For all the information the title provides, it doesn’t quite say everything. The picture offers us a largely downward view into and across a clearing in a forest where two men are at work.

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Joel-Peter Witkin by Elizabeth Avedon | Le Journal de la Photographie

Joel-Peter Witkin by Elizabeth Avedon | Le Journal de la Photographie | Photography Now | Scoop.it

“Witkin is a photographer who has been mistaken for a grave robber, whose works were described by Marina Isola as “Part Hieronymus Bosch, part ‘Texas Chainsaw Massacre.’"
Cindra Wilson, Salon.com

“I’m a really happy person, but I think most people think I’m some sort of a monster. I’m intensely poetic, intensely sincere. I want to make a contribution to life and the quality of life, because I want to diminish evil and raise the possibility of goodness. I think that’s what every artist wants to do whether they’re totally conscious of that or not.” 
Joel-Peter Witkin

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Le Journal de la Photographie: Lausanne: Aesthetics of the Photomaton

Le Journal de la Photographie: Lausanne: Aesthetics of the Photomaton | Photography Now | Scoop.it

Digital photography wiped out everything in its way. The funerals of silver films were expedited to avoid any resistance. The more the technology seemed outdated, the more its ghosts reappeared in nostalgic interrogations. Traditional methods have become trendy. Above and beyond market demands, certain values are being revealed and rediscovered. The banality of digital technology has led buyers elsewhere. And it is not surprising that the Elysée Museum of Lausanne organized this exhibition about the Photomaton five years after their exhibition “Tous Photographes”. It is part of the latest craze to attract people via their iPhone applications to seek out Photomaton machines both in Paris and New York, not to mention last year publication by La Martinière books.

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Realigning our Sight: An Interview with MK Guth

Realigning our Sight: An Interview with MK Guth | Photography Now | Scoop.it
Midway through our studio visit, MK Guth told me about a compass—her father’s compass to be precise—that, throughout her childhood, was contained in the tackle box on her family’s boat.
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Nic Dunlop and the Photographer of S21

Nic Dunlop and the Photographer of S21 | Photography Now | Scoop.it
In Cambodia last month I had the chance to visit Phnom Penh’s genocide museum. It’s housed at the site of the French Lycee which became the Khmer Rouge’s infamous ‘S21’ prison.
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How to Start a Project: Alejandro Cartagena

How to Start a Project: Alejandro Cartagena | Photography Now | Scoop.it
© Alejandro Cartagena, from the series "Suburbia Mexicana:Lost Rivers"

Two years ago, as my students at the Universidad de Antioquia were beginning to start their final projects for the semester, I asked a handful of friends in the photography world if they had advice about starting projects for my students. I continue to present their responses to my students each semester.
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Panique sur Instagram | L'Atelier des icônes

Instagram va-t-il commercialiser les photos de ses membres sans leur accord? Hier, si l’on en croyait la rumeur sur les réseaux sociaux et son écho sur les sites de presse, c’était sûr et certain: Instagram vend vos photos au kilo. Les plus perspicaces évoquaient le “suicide d’Instagram“, les plus malins diffusaient sans attendre des conseils pour fermer son compte et récupérer ses photos. Et jusque sur le blog du très malpoli Frozen Piglet, chacun de répéter le mantra: “si c’est gratuit, c’est que c’est toi le produit”.
Un psychodrame désormais classique, suscité comme d’habitude par une modification des CGU (conditions générales d’utilisation), auxquelles personne ne fait d’habitude attention. Sauf Wired et quelques blogueurs technophiles spécialisés dans le lancement d’alerte qui fait boum et garantit une viralité maximale.
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Instagram Plans To Sell Your Photos Commercially Without Paying You

Instagram issued a new Terms of Service yesterday (here) that will allow the company to use your photos commercially without any compensation to you:
Some or all of the Service may be supported by advertising revenue.
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gilles klein's curator insight, December 18, 2012 2:04 PM

Cela ce confirme, Instagram prévoit un modèle économique basé sur la spoliation, le détournement des droits, en revendant les photos publiés sur le site, sans l'accord et sans rétributions des photographes.

 

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Ce qui m'énerve le plus, c'est que je ne peux pas clore mon compte, je ne m'y suis jamais inscrit !!! Pfff.

Mehrdad Abedi's curator insight, December 18, 2012 4:10 PM

This is a darned cheek!

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On Historicity & Obscurity

On Historicity & Obscurity | Photography Now | Scoop.it
Having recently taught an introductory course in art and “art appreciation” for a community college, I can now inform readers of this site, most of whom genuinely love and respect art, that the recording of art history is under serious attack and subject to whims and allegiances of authors and their publishing houses. Furthermore, the “appreciation” of art, in all honesty, is presented as dependent upon supposed truths disseminated through the validating authority of The Text.
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The Photobook: Turn the Page Please

The Photobook: Turn the Page Please | Photography Now | Scoop.it
Recently, I’ve been struck by the different ways that photobooks are being presented in exhibitions and reading rooms. In the past, it was really simple to distinguish a venue by the manner in which a photobook was encountered. If the books could be picked up and held, then it was a bookshop or library; if the books were behind a plexi-glass partition or in an enclosed display case, then the venue was an exhibition space.
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2012 HOLIDAY BOOKS: A Few New Favorites

2012 HOLIDAY BOOKS: A Few New Favorites | Photography Now | Scoop.it
"Painter and Photographer Saul Leiter (b. 1923) exhibited alongside abstract expressionists like Willem de Kooning before beginning in the late 1940s to take photographs. Like Robert Frank or Helen Levitt, he found his motifs on the streets of New York, but at the same time was visibly interested in abstraction. Edward Steichen was one of the first to discover Leiter's photography, showing it in the 1950s in two important exhibitions at New York's Museum of Modern Art.
Mario Pires's insight:

Elizabeth Avedon writes about some of her favorite books on the year.

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In the photography of Harold Feinstein we see that which is 'genuine and spontaneous in human nature'

In the photography of Harold Feinstein we see that which is 'genuine and spontaneous in human nature' | Photography Now | Scoop.it
‘He has the ability to find something incredible in the ordinary,’ remarks Mary Ellen Mark of the Brooklyn-born photographer Harold Feinstein, whose career began in 1946 at the tender age of 15, and now spans over six decades. In 1948 he joined the Photo League — and although he was a latecomer to the influential New York school — it would form the basis of his photographic education, especially in his brief period of study with Sid Grossman (1913-1955), and add his name to a pantheon of distinguished members that included: Walter Rosenblum, Eliot Elisofon (1911-1973); Gordon Parks (1912-2006), Aaron Siskind (1903-1991); Berenice Abbott (1898-1991), Margaret Bourke-White (1904-1971), W. Eugene Smith (1918-1978), Helen Levitt (1913-2009), Beaumont and Nancy Newall, Richard Avedon (1923-2004), Weegee, and Robert Frank.
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What is Art Photography? at Visual Culture Blog by @MarcoBohr

What is Art Photography? at Visual Culture Blog by @MarcoBohr | Photography Now | Scoop.it
Seduced by Art: Photography Past and Present is currently on display at the National Gallery in London. The lack of natural lighting and the dark walls in the basement of the Sainsbury Wing evoke the solemn atmosphere of a crypt. In complete contrast to the liveliness of Trafalgar Square, visitors quietly whisper to each other as they slowly move from one room to the other. The show features the work of some of the best-known photographers of the 21st century displayed alongside renowned paintings from the National Gallery collection or specifically borrowed for this exhibition.
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Laura Dean's curator insight, May 1, 2013 9:07 PM

This article demonstrates how photography can be used as an artistic medium in modern society. Each photograph explores a political, social, or economic condition, that was evident in the past and still relevant today. Historical paintings are used as an inspiration for the photographs, however, the photographs have artistic merit in their own right. 

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Eleanor and Barbara, Chicago (by Harry Callahan, 1953)

Eleanor and Barbara, Chicago (by Harry Callahan, 1953) | Photography Now | Scoop.it

“I had photographed a nude model once or twice at the Detroit Camera Club in the early 1940s but it didn’t mean anything to me. It seemed as if you had to think, ‘What can I do that’s different from what everybody else is doing?’ That didn’t make much sense to me. Also, I wanted to photograph the person for whom I had feeling. It wasn’t enough just to photograph a nude." – Harry Callahan

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TIME’s Obama “Person of the Year” Cover – A Triumph of Assimilation?

TIME’s Obama “Person of the Year” Cover – A Triumph of Assimilation? | Photography Now | Scoop.it

My first instinct was to be bowled over by the classic quality of this cover and photo. After all, hadn’t Obama just triumphed, once again, as a political warrior? And, hadn’t he guided America, if on a center-right course, past the worst of two wars and a financial depression? What feels odd about this treatment, however, is how much it feels like a love offering to the legacy watch.

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Robert Stevens Favourite Photobooks 2012

Robert Stevens Favourite Photobooks 2012 | Photography Now | Scoop.it
Selection made by Robert Stevens – ICP faculty.
1. Jitkta Hanzlova  – The way she sees the world is unique and she believes in verticals – that is the way she sees things, never horizontal
2. SHE: Lise Sarfati – a more focused view of U.S.

3. Violentology: A Manual of the Colombian Conflict, by Stephen Ferry — raw, newsprint, sparing none of the reality of factionally violent Colombia. Too big to easily get away from – doesn’t fit on most book shelves, the way Ferry wants it – you can’t escape it. You must face it.

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Whitney Houston: It's also photojournalism | Le Journal de la Photographie

Whitney Houston: It's also photojournalism | Le Journal de la Photographie | Photography Now | Scoop.it

Paul Harris is the head of Pacific Coast News, one of the largest paparazzi agencies on the West Coast. Two of his photographers, Ben Dome and Dave Tonnessen, took pictures of Whitney Houston a few hours before her death. When their publication caused a scandal, Paul Harris issued this response:...

Mario Pires's insight:

Hierarchies about the whortiness of themes were very well defined in the history of art, they still live on, this article reflects that.

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Steal Like an Artist - a creative manifesto

Steal Like an Artist - a creative manifesto | Photography Now | Scoop.it
Austin Kleon's philosophy "Steal Like An Artist" is a creative manifesto based on 10 things he wish he'd heard when he was starting out. Austin is a writer and artist. He's the author of Newspaper Blackout, a best-selling book of poetry made by redacting newspaper articles with a permanent marker. A great list, with good ideas, but there should be an 11th point, Woody Allen's thought about showing up.
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Interview | Shahidul Alam, "The Empty Frame"

Interview | Shahidul Alam, "The Empty Frame" | Photography Now | Scoop.it
In the world of photography, Shahidul Alam needs no introduction. He started as a photographer of children, and went on to make a substantial contribution to the medium and its practice not just in his country, Bangladesh, but in the Subcontinent. He set up a photography school, Pathshala, in conjunction with the World Press Photo educational initiative. And he was instrumental in starting Asia’s very first photo festival, Chobi Mela, which attracts the world’s top professionals. In this conversation, he tells Open why the Indian photography movement lags others’, and how Bangladeshi photographers have finally quit cloning his work.

Photograph and Interview by Ronny Sen | Open Magazine
Via khicṛī
Mario Pires's insight:

In is introduction to the article he curated, khicṛī's talks about the importance of visual literacy in India, and that made me think about the situation in Portugal, where the problems are somehow similar to the ones described in the article.

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khicṛī's curator insight, December 19, 2012 3:51 AM

Very Interesting article in which Shahidul Alam point out the importance of visual literacy, not only for photographers, but also for the professionals who surround them : " We do not have writers on photography at all, we don’t have good curators, we don’t have picture researchers, we don’t have good photo editors, we don’t have good agencies, agents for photographers. These all have to be in place for the medium and for the professional industry to be robust, sustainable and creatively vibrant."

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Instagram faces backlash with updated terms of service - British Journal of Photography

Instagram faces backlash with updated terms of service - British Journal of Photography | Photography Now | Scoop.it
Thousands of photographers and organisations are protesting Instagram's new terms of service, forcing the Facebook-owned social publishing platform to clarify its intentions.
National Geographic, with more than 600,000 followers on Instagram, has followed the lead of hundreds of professional photographers in protesting Instagram's new terms of service.
Unveiled late last week, the new terms appear to allow Instagram to sell its users' images to third party organisation for commercial purposes. The terms read: "You agree that a business or other entity may pay us to display your username, likeness, photos (along with any associated metadata), and/or actions you take, in connection with paid or sponsored content or promotions, without any compensation to you."
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2012: A Year of Deja Vu

2012: A Year of Deja Vu | Photography Now | Scoop.it
In an age that, in many respects, is defined by photography, with millions upon millions of pictures being made every single day, it’s close to impossible for a photographer to produce a wholly original image.
Mario Pires's insight:

Why is media so predictable and conservative when it comes to producing images of regular events ?

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The Artist, the (possibly) Genius

Tom Griggs wrote a lengthy article, reacting to a comment I (and others) had to something he had written earlier (all the relevant information can be found in his recent piece). I thought I'd respond.
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Sebastien Girard: Strip-O-Gram

Sebastien Girard: Strip-O-Gram | Photography Now | Scoop.it
Sebastien Girard purchased the images contained in this book off ebay, and curated them together into this hilarious book. A fun, naughty publication at the end of 2012.
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Audrey Hepburn (by Richard Avedon, 1959)

Audrey Hepburn (by Richard Avedon, 1959) | Photography Now | Scoop.it
“My photographs don’t go below the surface. They don’t go below anything. They’re readings of the surface. I have great faith in surfaces. A good one is full of clues. But whenever I become absorbed in the beauty of a face, in the excellence of a single feature, I feel I’ve lost what’s really there… been seduced by someone else’s standard of beauty. That’s not usually the best. So each sitting becomes a contest.” – Richard Avedon
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Originality Is a Conservative Argument

Originality Is a Conservative Argument | Photography Now | Scoop.it
A few weeks back I put together a review of Looking at the Land, a multi-venue curation project by Andy Adams of Flak Photo. One paragraph in particular has drawn some praise, some fire, and some confusion.
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Minna Kilpeläinen's curator insight, December 16, 2012 8:16 AM

We all would like to be recognized as inividual artists / thinkers / human beings, but at the same time it is practically impossible. Even if we like it or not, we are put in categories. We are drawn to people who think alike and express themselves alike. Fashion is fashion in art, too. Whether we should still reach for originality or not, I would say, of course. We can be original individually and socially. When something original becomes fashion, it is no longer original.