| ||||||||||||||
 …ght out of the box, from the Scouts to understanding a Winogrand or Friedlander photograph. PG: Well there were a few years between the two! I wouldn’t claim to understand everything about Winogrand’s work, though essays like Tod Papageorge’s in Public Relations are wonderful reading for anyone who cares about photography. One of the great things about this medium is that you don’t need to have an academic degree to get it; photography can be so …  …ned to run aground from the outset. At this point, the photography of Nakahira’s group, that was intended radically to break away from institutionalised visual habits, became recognised as the bure, boke style1, although this label caused it to lose its initial potency. At a time when the media were beginning, here and there, to broadcast the Vietnam War or the Palestinians’ fight for independence, Nakahira hesitated to push the release. He was i…  …ic integrity while admitting that everything he has accomplished as a creative artist depends on the participation of others. Demanding that he be seen as an artist is nothing new for Avedon; he has spent decades fighting the label “fashion photographer.” This is partly because it is important for him to claim his own identity as a photographic artist as opposed to a constantly compromised and therefore non-existent individual associa…  …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,…  …nitially Elise MacAdams wrote it. I gave her the general idea for the story, and then she worked on a treatment, which is he a short story. She wrote several versions of the script, and then at some point we had the filmmaker Todd Haynes do a version, to work on the dialogue. And another filmmaker, Tom Kalin, worked on the last two or three versions of the script. So it was a collaboration. In the end the script was probably the weakest part of t… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …s an encyclopedia of modern life; thumbing through it, we might find such entries as Business, Fashion, Hotels, Nature, and Sports. Seen as a whole, the work also catalogues the various elements of representation as it exists today: the digital grid, pattern, value contrast, photographic emulsion, reflection. It’s all here–virtue and vice, romance and rational order, nature and culture, analog and digital, image and material. “I… …tists and the historical effects of their work are rarely synonymous. For example, artists who have benefited from the renewed critical and curatorial interest in Conceptual Art in the last decade have themselves resisted the label “conceptual.”(2) This is understandable – no practicing artist wants to be pigeon-holed as an example of an historical movement. Yet the conceptual designation has been crucial to the historical under… “The Photographic Idea: Reconsidering Conceptual Photography” (1999)  …n a vernacular culture, the architecture and details of a landscape that idiosyncratically described the U.S. This became the central theme of Evans’s photography as supported by both Keller and Rathbone, who dispel the labeling of Evans as a “socially concerned” photographer. Whatever Evans’s personal beliefs were about the social conditions brought on by the Depression, he did not use photography as a crusading practice…. WALKER EVANS: “Scavenging the Landscape – Walker Evans and American Life” (1996)  …eginning’ of your work: the tormented portraits, the ‘action painting with developer’, the dark side of life and how ‘different’ that has become in your recent work. If you were to put your own development into words yourself today, how would you describe it? DB: It’s certainly not the case that at a certain point I was only interested in empty spaces, or systematically set about eliminating all the characters from my pictures. Based on what I do…  “The Thing Itself is Such a Secret and so Unapproachable” George Eastman House, Image Magazine, Vol. 17., No.4, December, 1974, Originally Published in Yale Alumni Magazine, February, 1974. Walker Evans, the eminent American photographer, who taught photography at Yale until his retirement several years ago, talks informally with today’s students about his life, his art and the mysteries of the creative process… W.E. &… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974)  … Friedlander, Garry Winogrand, and Diane Arbus was introduced together in an exhibition at the Museum of Modern Art, New York, entitled New Documents, setting the standard for a new notion about the ‘documentary.’ In his wall label for that exhibit John Szaskowski wrote, ‘In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it.’ 18…. | ||||||||||||||
|
