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Posts from the “Art” Category

Jeffrey Henson Scales: In a Time of Panthers: The Lost Negatives

Posted on October 13, 2021

Photograph of Bobby Seale by Jeffrey Henson Scales used in a collage on the cover of the Black Panther Paper, designed by Emory Douglas, BPP Minister of Culture, and Art Director for the Party’s newspaper © Jeffrey Henson Scales

Growing up in California’s legendary Bay Area in the 1960s, African-American photographer Jeffrey Henson Scales had a front-row seat to the hippie explosion in San Francisco’s Haight-Ashbury neighborhood and the Black Power Movement in Oakland. In those heady, transformative years, Scales amassed an extraordinary collection of photographs, the bulk of which had gone missing for the past 50 years.

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“I always assumed it was stolen by the FBI,” Scales says. “At the time, it wasn’t an unfeasible assumption because my family was under surveillance by the FBI. I assumed they were the FBI — they looked like they were in the Matrix, sitting in unmarked cars parked in front of our house and making movies of us.”

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It wasn’t until 2018 that the photographs finally resurfaced. While cleaning out the house after Scales’ mother had passed, his stepfather and older brother came upon a cache of 40 rolls of film stashed in the back of an old filing cabinet. From this extraordinary find, Scales unearthed some of his earliest works made in 1960s California — including 15 rolls documenting his time with the Panthers.

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In the new exhibition and forthcoming book, “In a Time of Panthers: The Lost Negatives”, Scales brings together works made between 1967–1971, offering a timely at efforts to confront police brutality, racial injustice and inequality, and the horrors wrought by capitalism — issues the nation continues to confront today.

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Read the Full Story at Blind

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Huey P. Newton Black Panther Party Minister of Defense, speaking to the media upon his release from prison on August 5th, 1970, at the offices of his attorney, Charles R. Garry. From, “The Lost Negatives,” photographs by Jeffrey Henson Scales. © Jeffrey Henson Scales
Black Panthers at a Free Huey rally at Defermery Park, 1968, from, “The Lost Negatives,” photographs by Jeffrey Henson Scales © Jeffrey Henson Scales
Categories: Art

Russell Frederick: Brooklyn’s Native Son

Posted on October 13, 2021

Russell Frederick. Harlem, NY 2018 – Money, Power, & Respect! Three ‘Queens’ pose for a photo on 125 Street.

Over the past two decades, self-taught photographer Russell Frederick has established himself on his own terms, refusing to compromise his integrity for fortune or fame. “I wanted something more than money — I wanted purpose, happiness, and legacy. I wanted to make a difference in the lives of others,” says Brooklyn’s native son.

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Coming of age in the 1990s, Frederick worked in healthcare as the crack and AIDS epidemics destroyed countless lives, and the draconian Rockefeller drug laws disappeared a generation of Black men. “I’ve been arrested, stopped and frisked 15, 20 times when I’ve committed no crimes,” Frederick says. “Being targeted by the police impacts our families, our ability to get an education, and our self-esteem.”

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Like legendary photographer and film director Gordon Parks, Frederick’s choice of weapons is the camera. After realizing he didn’t want to spend his life working in a job he didn’t love, Frederick gave up a secure career to pursue his love of photography at a time when few Black photographers could make a living in the field. Since 1997, he has devoted himself to crafting stories of Black life that uplift, inspire, and unite. Whether photographing luminaries including President Barack Obama, Mayor David Dinkins, Regina King, Barry Jenkins or the people of his Bed-Stuy community, Frederick is on a mission to create repository of soul, one frame at a time.

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As a member of Kamoinge, the world’s longest running non-profit photography collective, Frederick understands the importance of telling Black stories from the perspective of someone inside the community and create counter narratives to mainstream media. “The camera is a powerful tool and I saw why it was weaponized against us,” he says. “I look at my role as a photographer as an educator and visual activist to realize and redefine the way the world sees us because our greatness has been suppressed. When I leave this earth, these images I’ve made will live on and be strong.”

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Read the Full Story at The Undefeated

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Russell Frederick. New York, NY 1999 – Actors and activists Ruby Dee, Ossie Davis and Reverend Al Sharpton prepare to be arrested in protest to the murder of unarmed Amadou Diallo who was killed by the police when they fired 41 rounds of ammunition.
Categories: Art, Brooklyn, Photography, The Undefeated

Michael Kamber: URGENCY! Afghanistan

Posted on October 10, 2021

Young Afghan women cheer as they attend an election campaign rally for Afghan presidential candidate Ashraf Ghani in Kabul, April 1, 2014. The election is the third presidential poll since the fall of the Taliban. Photo by Paula Bronstein

October 7 marks the 20th anniversary of the United States invasion of Afghanistan. What began as “Operation Enduring Freedom”, an air strike against Al Qaeda and Taliban targets, has resulted in anything but.

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The U.S. completed the withdrawal of its armed forces from Afghanistan on August 30, bringing to end the nation’s longest war of foreign land. Despite costing $2.313 trillion and 243,000 lives, the war proved yet another abject failure on the part of global empire — like Britain and the Soviet Union before it.

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As the Taliban claimed victories across Afghanistan, the United States fled, leaving in its wake horrific scenes reminiscent of its departure from Vietnam. “The parallels between Vietnam and Afghanistan are uncanny,” says American photographer Michael Kamber, founder of the Bronx Documentary Center.

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Together with Cynthia Rivera, Kamber curated URGENCY! Afghanistan, a group exhibition bringing together the work of Victor J. Blue, Paula Bronstein, David Gilkey, Kiana Hayeri, Jim Huylebroek, Joao Silva, Marcus Yam, David Gilkey, killed in Afghanistan in 2016, and Tim Hetherington, killed in action in Libya in 2010.

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Read the Full Story at Huck

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German military convoy heads towards Kabul as a Northern Alliance guard from the checkpost waves them on after arriving at Bargram airport today, Jan. 11,02. They are in Afghanistan as part of the ISAF Peacekeeping force (International Security Assitance Force). Paula Bronstein/ Getty Images
Categories: Art, Exhibitions, Huck, Photography

Meryl Meisler: Lost & Found: Bushwick

Posted on October 10, 2021

Meryl Meisler. The School Yard Fence Face to Face Palmetto St., Bushwick, May 1983.

When American photographer Meryl Meisler arrived in Bushwick, Brooklyn, for a job interview at I.S. 291 Roland Hayes in December 1981 she was shocked at the state of the neighborhood.

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“I got out of the subway and everything was boarded up or burned down. It looked like there was a war going on but this was a quiet time,” she recalls. “I thought to myself, ‘It’s a week before Christmas and there’s a job opening? Maybe the other art teacher was killed.’”

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Meisler, who had previously been a hostess in Manhattan’s famous go-go bars, arrived at the junior high school on Palmetto Street. The school stood at the edge of an area that had been destroyed by a devastating fire that wiped out 23 buildings that occurred just one week after the infamous 1977 blackout unleashed a wave of arson and looting across the community.

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Four years later, Bushwick remained in dire straights with 45% of the population living below the poverty level. “I later found out it had one of the highest vacancy rates in the city — people were leaving,” says Meisler.

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Read the Full Story at Huck

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Meryl Meisler. Boyz To Men Palmetto St., Bushwick, October 1982.
Meryl Meisler. Knickerbocker Ave., Bushwick, Brooklyn, June 1982
Categories: 1980s, Art, Books, Brooklyn, Exhibitions, Photography

Mitch Epstein: In India

Posted on October 10, 2021

Mitch Epstein. Ahmedabad, Gujarat, 1981.

Coming of age in mid-century America, photographer Mitch Epstein  was drawn to the mysticism and majesty of Indian culture. At Woodstock, he saw Ravi Shankar play sitar. In the work of Henri Cartier-Bresson, he was transported half way around the globe. After seeing film clips of the Beatles visiting the Maharishi Mahesh Yogi, Epstein paid $35.00 to be initiated into Transcendental Meditation in Schenectady, New York.

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But it wasn’t until he met filmmaker Mira Nair, his girlfriend and later wife, that Epstein made the journey for himself. Between 1978 and 1989, Epstein took eight extended trips to India. “I was thrust into an unfamiliar world and in a healthy way, it was disorienting. I had to learn a new cultural language and build on it along the way,” Epstein says.

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“That was humbling because I grew up in an era of great privilege and opportunity and took it for granted to a certain extent. Putting myself into a world that wasn’t my own, compelled me to let go of some of my perspectives as an American.”

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Read the Full Story at Huck

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Mitch Epstein. Arabian Sea, Bombay, Maharashtra, 1983.
Categories: 1980s, Art, Books, Huck, Photography

In the Gallery with Frish Brandt

Posted on October 6, 2021

Envelop, 2019 © Elisheva Biernoff, courtesy Fraenkel Gallery, San Francisco.

It’s hard to believe that just half a century ago, most museums and universities did not have photography departments or programs. Despite photography’s long-standing influence and impact, it has largely been excluded from the realm of fine art. Frish Brandt, now President of Fraenkel Gallery in San Francisco, recalls: “In the late 1970s, there was no such thing as a famous photographer. Maybe Ansel Adams and Edward Weston would qualify, but it was such a small audience.” 

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A few years after moving to San Francisco in 1974, Brandt got her start in photography at the Imogen Cunningham Trust. A decade later, she began working with Jeffrey Fraenkel, who founded Fraenkel Gallery in 1979. After officially joining the gallery in 1985, Brandt became partner in 1989 and president in 2015, crafting a path that did not previously exist. 

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“It’s hard to believe that it’s that recent, and we could still be pioneers,” she says, looking back at the era. “We weren’t alone but we were in a small group. San Francisco has always been very ‘photofilic’, shall we say. There were a few galleries here and a few in New York but at that point having a photography gallery was a recipe for disaster. Kenneth Baker moved out here to be the art reviewer for the Chronicle, and publicly said that photography is not art. He has since come around on that in a big way.”

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Read the Full Story at British Journal of Photography

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Installation view of the exhibition Janet Cardiff & George Bures Miller: The Poetry Machine and Other Works at Fraenkel Gallery, May 3 through July 8, 2018. Courtesy Fraenkel Gallery, San Francisco
Categories: Art

Dario Calmese Takes On Racial Bias in Photography

Posted on October 1, 2021

Medium Skin Tone Edited Using Adobe Premium Presets. Before and After Images. Courtesy of Dario Calmese

Occupying the space of both art and artifact, photography has become one of the most influential forms of expression in world history. Fluent in every language, speaking more than a thousand words in every frame, the photograph’s ability to transcend time and space makes it an extremely supple too. But like all technological inventions, the perspectives and prejudices of its makers play an important part in shaping its abilities and development. Invariably, racial bias has long played a role.

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With the creation and mass market distribution of color film in the mid-1950s, lab technicians established a system for calibrating skin tones that would enhance and flatter the features of their target market: white women. Until 1954, Eastman Kodak maintained a monopoly until the federal government asserted their power to break it up ­— but by then the damage had been done. Kodak produced the Shirley card, a prototype that would be remade for decades to come that featured a pale brunette as the gold standard for calibrating the light and shadow on skin tones during the printing process.

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If you didn’t match these aesthetics, color film was unlikely to flatter you, especially if you possessed deeper, darker skin tones. writer Syreeta McFadden remembers seeing the evidence of photography’s color bias. “I was 12 years old and paging through a photo album…. In some pictures, I am a mud brown, in others I’m a blue black,” she wrote in a story for BuzzFeed News. “Some of the pictures were taken within moments of one another. ’You look like charcoal,’ someone said, and giggled. I felt insulted, but I didn’t have the words for that yet.”

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Read the Full Story at Dazed

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Medium Skin Tone Edited Using Adobe Premium Presets. Before and After Images Courtesy of Dario Calmese
Categories: Art, Dazed, Photography

The Personal Journey of Documenting Breast Cancer

Posted on October 1, 2021

“When you are losing your sense of self, sometimes you feel like your mind is going with it; Or sometimes you justlike to shake up the neighborhood.” © Iri Greco / BrakeThroughMedia

Over the past 50 years, breast cancer has been on the rise in industrialized nations due to a complex mixture of factors including genetics, modernization, and improved screening procedures. In 2020, female breast cancer became the most commonly diagnosed form of the disease, with an estimated 2.3 million new cases worldwide. One in eight women in the United States is expected to be diagnosed within their lifetime.

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Despite its current prevalence, breast cancer has a long history. Because of its visibility, it was the most frequently described form of cancer in ancient texts. Mastectomies have been recorded as early as 548 AD, its earliest notation as recommended treatment for Eastern Roman Empress Theodora. Despite its long existence, breast cancer remained largely uncommon until the Industrial Revolution, when advancements in science and technology brought about seismic shifts — but remained a matter discussed behind closed doors until First Lady Betty Ford spoke openly about her diagnosis in 1974.

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Since then, breast cancer has come to the fore, and with it a host of conversations that center, question, and expand the way we think about the disease. Artists have historically been at the forefront of the discussions, pushing the boundaries of representation and visibility with the understanding that “Seeing is believing but feeling is the truth,” a sentiment first espoused by seventeenth English clergyman Thomas Fuller that underscores the ways in which empathy can transform our worldview.

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Read the Full Story at The Luupe

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©Kea Taylor/Image Works
“My plait, which I cut off when I started to lose hair. I had long hair for all of my life before. I felt there were big changes in my life, but I didn’t fully realize them.” © Alyona Kotchetkova
Categories: Art, Photography, The Luupe, Women

Ruth Orkin: The Centennial

Posted on October 1, 2021

People lying on Tanglewood Lawn, Lenox, Massachusetts, 1948 © Ruth Orkin

At the age of 17, Ruth Orkin (1921–1985) decided to ride a bicycle from Los Angeles to New York in order to attend the 1939 World’s Fair. She made the trip in a matter of three weeks, photographing her journey along the way — a singular feat that spoke to Orkin’s ability to realize her greatest ambitions.

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“Ruth had a big personality. She was very charismatic,” says her daughter Mary Engel, Director of the Ruth Orkin Photo Archive, who is honoring the centennial of her mother’s birth with the new book Ruth Orkin: A Photo Spirit and exhibition “Ruth Orkin: Expressions of Life”. Working across genres, Orkin created a singular archive of mid-twentieth century life, capturing a feeling of optimism that defined the modern. Orkin’s empathic eye found its home whether photographing celebrities or strangers she encountered on the street.

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Although Orkin was an unconventional mother, telling her children Mary and Andy to call her “Ruth” so she could hear them in a crowd, she never put work above her family. Although she always carried a camera around her neck, Orkin brilliantly integrated her practice into every aspect of her life to avoid any sense of intruding upon those she loved.

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Read the Full Story at Blind

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Geraldine Dent, Cover of McCall’s, New York City, 1949 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2021
Famous Malted Milk, New York City, 1950 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2021
Categories: Art, Blind, Books, Exhibitions, Manhattan, Photography, Women

Gillian Laub: Family Matters

Posted on September 29, 2021

Gillian Laub, Grandpa helping Grandma out, 1999, from Family Matters (Aperture, 2021). © Gillian Laub

On a brisk winter afternoon in 1999, Jewish-American photographer Gillian Laub stepped onto the streets of New York’s Upper East Side to enjoy a cigarette in between classes at the International Center of Photography. As she stood there, a Norwegian classmate spotted a gaggle of older women adorned in lavish furs and brightly colored lipstick walking down the block. He found them vulgar and called them as much. Gillian nodded along — until recognition struck.

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“Gillian, oh my gawd, what are you doing up here?” her grandmother Bea screamed, the thick Bronx Yiddish accent filling the air like the full-bodied parfum of a potato knish served up piping hot from a sidewalk cart. Bea, accompanied by Gillian’s mother and her Aunt Phyllis, enveloped her with an effusive display of hugs and kisses, before rejoining a larger group of ladies making their weekly Upper East Side art crawl.

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Gillian felt embarrassed, then defensive, wanting the Scandinavian student to understand and perhaps empathize with her family’s rags to riches story; their exuberant show of wealth — like their extravagant displays of affection — was evidence of their fierce determination to overcome prejudice and discrimination. Gillian fought back the urge to explain how a series of anti-Semitic pogroms during the Russian Revolution of 1905 split both sides of her family apart. Her great-grandparents fled Ukraine and headed to distant shores, arriving in the US in the early 20th century to make a better life for themselves.

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Read the Full Story at i-D

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Gillian Laub, Chappaqua backyard, 2000, from Family Matters (Aperture, 2021). © Gillian Laub
Categories: 1990s, Art, Books, Exhibitions, i-D, Photography

DASHCAM – Dash Snow: Photographs of Life

Posted on September 24, 2021

Dash Snow. Untitled (Jade and Secret Nest), 2007.

A mythic figure in every sense of the word, Dash Snow evoked the romantic archetype of the rebel who sacrificed everything, including, ultimately, his own life. A member of the 27 Club, Dash died from a drug overdose in 2009, just as his star was on the rise. 

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Born Dashiell Snow on the 27th of July 1981, Dash was the great-grandson of French aristocrats and art collectors Dominique and John de Menil, founders of the Menil Collection museum and the Rothko Chapel, a chapel and work of modern art home to 14 paintings by Mark Rothko, both in Houston. An anti-authoritarian to the core, Dash rebelled against his parents and was sent away to a boarding school for troubled youth. After getting out, he fled to New York during the 1990s and 00s — the last gasp of the city’s once-legendary libertine age — and quickly fell in with the city’s demi-monde.  

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As a member of the legendary graffiti crew IRAK, Dash was an integral figure on the downtown scene. His exploits became the stuff of legend alongside a wild cast of characters. The quintessential renegade, Dash embodied the ethos of sex, drugs, and rock ‘n’ roll as he charted his way from the upper echelons of society to the streets, refusing to play by the rules. But the very world he disdained loved him for his insouciance, catapulting him to art star for his antics — like sperm and glitter-encrusted collages of Saddam Hussein or the “hamster nests” whereby rooms would be entirely destroyed, made ritualistically with friend Dan Colen in hotels and later galleries. 

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In what would have been his 40th year, Morán Morán and the Dash Snow Estate have organized DASHCAM – Dash Snow: Photographs of Life, the artist’s first posthumous gallery exhibition in the United States. Guest curated by Matthew Higgs, director and chief curator of White Columns, New York, the exhibition focuses on Dash’s lesser-known black-and-white 35mm photography.

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Read the Full Story at Blind

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Dash Snow. Untitled (Self-portrait in Bedroom), 2008.
Dash Snow. Untitled (Gang Gang Dance), 2006.
Categories: 1990s, Art, Exhibitions, i-D, Manhattan, Photography

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