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Posts from the “Blind” Category

Diana Markosian: Santa Barbara Opens at SFMoMA

Posted on July 2, 2021

Diana Markosian, First Day at Work, from “Santa Barbara”, 2019

Seven decades after the October Revolution, the Soviet Union was teetering on the brink of collapse as internal unrest threatened to dissolve the once stalwart nation that had risen to global dominance. With Moscow losing control, the country dissolved as 10 republics seceded during the last quarter of 1991, that Christmas. President Mikhail Gorbachev resigned, no longer having a country to run.

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In an instant, Diana Markosian’s world was turned upside down. Born in Moscow in 1989, her parents’ dream for their family was wrested away and their PhDs couldn’t save them in an economy with no jobs. As a child, Markosian and her brother took the streets to pick bottles to make enough money to buy bread. Her father made painted matryoshka dolls to sell to tourists visiting the Red Square, while the stress of destitution eventually broke the marriage apart. “I saw in my mother the sadness of ‘this can’t be my life,’” Markosian recalls.

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On January 2, 1993, the radiant light of escapism came from the most unlikely of places. The daytime soap opera, Santa Barbara, was ending its ten-year run that month, and would become the very first American television show broadcast in Russia. As a young girl, Markosian idolized the show, which chronicled the dramatic intrigues of the Capwell clan, who embodied the glitz and glamour of 1980s Southern California.

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But these images of wealth and prestige led Markosian to believe that America wasn’t a place she and her family belonged — which made her move to the actual Santa Barbara all the more a shock to the system after her mother decided to marry an American man and immigrate to the United States in 1996 in order to provide the best possible life for her children.

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Read the Full Story at Blind

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Diana Markosian, Eli’s House, from “Santa Barbara”, 2019
Diana Markosian, Mom by the Pool, from “Santa Barbara”, 2019
Categories: 1990s, Art, Blind, Books, Exhibitions, Photography

Barty Heynen : Dads

Posted on June 30, 2021

Bart Heynen, Dennis combing Élan’s hair. Brooklyn, New York

It wasn’t until 2017 that the United States Supreme Court ruled both same sex spouses to be listed on birth certificates, a decision that has since legalized same-sex adoption in every state — a decision that came just two years after Obergefell v. Hodgeslegalized same-sex marriage. In the intervening years, new families have emerged, blossomed, and grown, expanding the restrictive structures foisted upon us by a repressive cisheteronormative system of power.

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In the new book, Dads (powerHouse Books), Belgian photographer Bart Heynen offers an intimate, tender look at nearly 50 families headed by two men, which gently yet substantially subverts prevailing archetypes of fatherhood. Often depicted as domineering, emotionally unavailable, or all together absent, American fatherhood has suffered under the weight of the patriarchy, which stymies men’s abilities to express vulnerability and unconditional love.

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Heynen’s journey to create these portraits began in 2016 while watching Hillary Clinton’s concession speech. Determined to be the change he wanted to see in the world, he began reaching out to gay parents to explore a new model of fatherhood now being introduced to the world. Seeking understanding for those who shared his path, Heynen recognized he was part of a new generation who could reimagine the ways in which fatherhood is experienced by children and parents alike.

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Read the Full Story at Blind

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Bart Heynen, Me and Rob with Ethan and Noah at 630 AM. Antwerp, Belgium
Categories: Art, Blind, Books, Photography

Ruber Osoria: A Migrant’s Journey from Cuba to Chile

Posted on June 23, 2021

Ruber Osoria

Photographer Ruber Osoria hails from Contramaestre in Santiago de Cuba on the east end of the fabled island, a town that gets its name from the river whose waters nourished three of the most influential men in Cuban history: Carlos Manuel de Céspedes, known as “Father of the Fatherland” for his actions during the Cuban War of Independence; revolutionary philosopher and political theorist José Martí; and Fidel Castro.

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Born in 1992, Osoria is the only child of a single mother and farmer. “I spend my entire childhood at my mother’s farm where she grew corn, potatoes, bins, cassava and pumpkin, and also raised chickens, ducks and one or two pigs occasionally,” he recalls. “My first toys were plants and animals. I had a happy childhood until one day a hurricane devastated our home.”

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Growing up, Osoria surrounding himself with poets, musicians, rockers, rappers, and muralists. He explains, “I’ve always been immersed in the constant search for an element that would allow me to express the feelings burning inside me: the fact that my father abandoned me when I was a baby, my grandpa and other family members emigrating to the United States, and the loss of my home.”

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Read the Full Story at Blind

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Ruber Osoria
Ruber Osoria
Categories: Art, Blind, Latin America, Photography

Ann Ray: Lee Alexander McQueen

Posted on June 18, 2021

Ann Ray, Inside, London II, 2000.

Pablo Picasso sagely advised, “Learn the rules like a pro, so you can break them like an artist” – a sensibility that applies to Lee Alexander McQueen (1969-2010) and his longtime collaborator, French photographer Ann Ray, otherwise known as Anne Deniau. Between 1997 and 2010, Ray collaborated with the iconoclastic British designer who turned the world of fashion upside down, creating some 32,000 prints, contact sheets, and vintage works, most of which have never been seen by the public before.

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“For 13 years, I never gave one photograph to anyone. After Lee left, I would talk to him, saying, ‘Okay this is my job. You knew what you were doing. I’m in charge now,’” says Ray, who has come to understand the purpose of this singular collaboration. “My archive is both tangible, prints and negatives, and also non-tangible: it’s my experience and memories. I have to be very careful and make sure his legacy is transmitted with dignity. These photographs belong to history.”

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Now, more than a decade after the designer’s tragic death, Barrett Barrera Projects, one of the world’s largest private collections of garments and ephemera created by Lee Alexander McQueen, has acquired Ray’s photographic archive of the most revolutionary atelier of our time. The acquisition of Ray’s archive allows Barrett Barrera Projects to tell a richer story about McQueen, celebrating the complex artistry that lies at the heart of his work.

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Read the Full Story at Blind

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Ann Ray, Savage, Givenchy Couture, 1997.
Ann Ray, Secret, Interrupted, 1998.
Categories: 1990s, Art, Blind, Fashion, Photography

Sara Cwynar: Glass Life

Posted on June 16, 2021

Sara Cwynar, Tracy (Pantyhose), 2017, from Glass Life (Aperture, 2021) © Sara Cwynar

The Pictures Generation of the 1970s ushered in a new era of photography, one that helped catapult its prominence within the contemporary art world, as artists took up the camera to explore the intersection between identity, iconography, and ideology in American culture. Half a century later, digital technology has democratized the production and proliferation of images, creating a veritable deluge of visual effluvia. Surrounded by screens big and small, we are constantly reading and reacting to images of all types, subtly and substantially reshaping our perceptions of ourselves and modern life.

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In her 2019 book, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power, author Shoshana Zuboff introduces the term “glass life” to describe the ways in which data-driven technology operates, insidiously infiltrating itself through convenience while simultaneously eroding significant social bonds and boundaries including privacy, intimacy, and self-determination. “The greatest danger is that we come to feel at home in glass life or in the prospect of hiding from it,” Zuboff warns. “Both alternatives rob us of the life-sustaining inwardness, born in sanctuary, that finally distinguishes us from the machines.”

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Recognizing the crux of her work within this idea, Canada-born, New York based artist Sara Cwynar adopts this idea as the title of her new monograph, Sara Cwynar: Glass Life (Aperture), which brings together the artist’s multilayered portraits and stills from her films Soft Film (2016), Rose Gold (2017), and Red Film (2018). A kaleidoscopic examination of contemporary life that explores subjective notions of beauty, the fetishization of consumerism, and the archives that have emerged around these ideas, Glass Life deftly deconstructs the ways images relentlessly reshape perception in ways subtle and overt, becoming as pervasive and wily as words themselves.

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Read the Full Story at Blind

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Sara Cwynar, Tracy (Cézanne), 2017, from Glass Life (Aperture, 2021) © Sara Cwynar
Categories: Art, Blind, Books, Photography, Women

Khalid Hadi: Disasters of War

Posted on June 15, 2021

Khalid Hadi. Kandahar 1990s

No invading nation has ever conquered Afghanistan — not even the United States, which boasts a military budget of $721.5 billion for 2020 alone. On April 13, President Biden announced the nation would withdraw troops by the 20th anniversary of the 9/11 attacks, bringing to an end the country’s longest war on foreign soil. Despite the fact that Afghanistan ranks 169 out of 189 on the United Nations Human Development Index, the rugged mountainous nation has held its own against the U.S., which deployed almost 800,000 troops in a war that cost an estimated $2 trillion. “We have won the war and America has lost,” Taliban’s shadow mayor in the Baikh district told the BBC.

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The money, military, and manpower of global empires are simply no match for the people of Afghanistan, a grim truth the British Empire and the Soviet Union discovered for themselves in the 19th and 20th centuries respectvely. Rudyard Kipling recognized as much, penning the poem “The Young British Soldier” in 1895, advising in the final verse: “When you’re wounded and left on Afghanistan’s plains, / And the women come out to cut up what remains, / Jest roll to your rifle and blow out your brains / An’ go to your Gawd like a soldier.”

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But what of the cost of defending oneself from attack, of standing up to trespass and maintaining sovereignty of the land? This is a history of trauma and survival rarely given its proper due in the West. But American photographer Edward Grazda, who has documented Afghanistan since 1980, understands those who lived to tell the tale must be heard. With the publication of the new book, Disasters of War (Fraglich), Grazda brings together the portraits Afghan photographer Khalid Hadi made between 1992-1994 documenting the wounded fighters, civilians, and orphans who survived the Soviet-Afghan War.

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Read the Full Story at Blind

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Khalid Hadi. Kandahar 1990s
Mullah Akond Foundation for victims of the Soviet-Afghan War. Kandahar, 1990s
Categories: 1990s, Art, Blind, Books, Photography

Destiny Mata: The Way We Were

Posted on June 8, 2021

Collage © Culture Crush, Inc 2021 © Destiny Mata 2021. All rights reserved

Most people do not know that one of the earliest punk groups on the scene was a Black band from Detroit named Death that helped shape the sound of a radical style that would never sell out. Although Black and Latino culture lies at the roots of punk rock, its contributions have largely gone overlooked or erased. Artists like Bad Brains, Alice Bag, and Vaginal Davis have played an integral role, creating a space for communities of color within a predominantly white realm.

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Over the past five decades, punk has transcended all boundaries, spanning four generations of disaffected youth. Mexican-American photographer Destiny Mata, (aka “The People’s Photographer”) remembers attending her first Punx of Color show in a Brooklyn basement and the thrill of being surrounded by Black and Brown musicians, which she describes as “the avant garde of the disenfranchised” in her first book, The Way We Were (Culture Crush Editions).

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“After that one show, I thought, ‘Get me to the next one!’” Mata writes in the book’s introduction. “I met so many amazing artists, activists, and community organizers. But they were not just putting on a show, they were also putting together benefits for grassroots organizations fighting for undocumented and trafficked migrant workers, fighting against gentrification, supporting causes around autism and hunger like the Color of Autism Foundation and Feed the People/Bronx, all in support of their own communities. In other words, that night, there was much more to it than music.”

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Read the Full Story at Blind

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Bronx Artists and curators Kiara Cristina Ventura, Rocio Cabrera, and Nicole Bello at Emo Night, Bronx Beer Hall, organized by the Hydropunk and Odiosas art, music, and educational collectives © Destiny Mata 2021. All rights reserved
Categories: Art, Blind, Books, Music, Photography

Revisiting “Minamata,” W. Eugene Smith’s Final Photo Series

Posted on June 3, 2021

Photo: W. Eugene Smith. © Aileen Mioko Smith

By 1971, American photographer W. Eugene Smith (1918–1978) had become a shadow of his former self, a shell-shocked recluse with a drinking problem who had retreated into the seclusion of his New York studio and home. Smith was alone, surrounded only by the remnants of his career as a world-renowned photojournalist.

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Under the red light of the darkroom bulb Smith’s photographs hung, mementos of the best and worst of humanity. After getting his start in 1939 for Newsweek, Smith began shooting for Life the following year, compiling a compendium of work that made him one of the most influential photojournalist of the twentieth-century. A master of the photo essay, Smith, who became a member of Magnum Photos in 1955, documented war and peace, poverty and beauty in equal part.

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In the 1960s, while Smith risked his life to bear witness to the destruction and salvation of humanity, halfway around the world the Chisso Corporation’s chemical factory was poisoning the fishing village of Minamata, Japan. Between 1932 and 1968, the factory released wastewater contaminated with toxic methylmercury, poisoning the water and sea life consumed by locals. As of 2001, 2,265 people were afflicted with Minamata disease, a neurological disorder that causes muscle weakness, damage to hearing, vision, and speech, as well as insanity, paralysis, coma, and death. The first case was reported in 1956; since then 1,784 have died as a result.

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Read the Full Story at Blind

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Photo: W. Eugene Smith. © Aileen Mioko Smith
Photo: W. Eugene Smith and Aileen Mioko Smith. © Watanabe Elichi

Categories: Art, Blind, Books, Japan, Photography

Safe/Haven: Gay Life in 1950s Cherry Grove

Posted on June 2, 2021

Young Man Posing for Polaroid, 1959, Cherry Grove Archives Collection, Gift of Don Steeple

ne of the very first gay beach towns in the United States, Cherry Grove on Fire Islandbecame a weekend and summer destination for the LGBTQ community in the years before the Stonewall riots, widely considered one of the most important events leading to the gay liberation movement. At a time when homosexuality was considered both a crime and a mental illness, Cherry Grove provided sanctuary from persecution, creating a space for the community to enjoy the pleasures of life on their own terms.

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In the new exhibition, Safe/Haven: Gay Life in 1950s Cherry Grove, curators Brian Clark, Susan Kravitz, and Parker Sargent of the Cherry Groves Archives Collection bring together 70 enlarged photographs and additional ephemera that offer a window into this extraordinary chapter of American history. Featuring images made at the beach, theater performances, art exhibitions, Duffy’s Hotel bar, the annual regatta, and end-of-season costume ball, where revelers could openly flout laws against cross-dressing, the exhibition celebrates the power of joy, love, and resilience just in time for Pride Month.

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“Hate and homophobia often forced homosexuals to live in secret in order to protect their own safety and reputations,” says Clark. “Salvaging our gay history is critically important to validate the ways we existed. We honor our gay elders and gay ancestors by telling the truth about their joys and struggles along with acknowledging their leading contributions to our world.”

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Read the Full Story at Blind

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End of Season APCG Ball, Community House, Woman with Headdress, September 1954, Cherry Grove Archives Collection, Gift of Harold Seeley
One Hundred Club Party, 1949, Cherry Grove Archives Collection, Gift of Harold Seeley
Categories: 1960s, Art, Blind, Exhibitions

Emily Sujay Sanchez: Stories of Trauma, Survival and Healing

Posted on May 31, 2021

Emily Sujay Sanchez

“My story is no different from women who look like me,” says Emily Sujay Sanchez, a Bronx-based photographer of Dominican heritage, who recounts a story of trauma, survival, and healing that first took root when she picked up the camera at the age of 23.

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“I had just moved back to Providence, Rhode Island, after having my son. It was a really rough time,” Sanchez says. “ I had this baby and separated from my son’s father, right away. I was suffering from postpartum depression, though at the time I didn’t know what it was. I couldn’t find work, and then when I did it was an overnight job one hour away from home, working in the coat checkroom at a casino. I was going through it.”

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But providence, as it were, intervened and Sanchez enrolled in a photography course being taught at a local school. “I took into to film and darkroom and I will never forget the feeling because I was able to quiet everything that was going on at the time,” Sanchez says, then stills herself, holding back the tears.

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“I still remember the first photographs I took. My instructor sent me out and said, ‘Take pictures of what attracts you and look at the lines’ — whatever the hell that meant!” Sanchez laughs. “The city is deserted, there’s nothing really going on. I was walking around this area and there was a diner. I saw a waitress outside smoking a cigarette on her break. Her eyes were glazed and she was completely in her own world. I asked if I could take her picture and she said, ‘Sure.’”

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Read the Full Story at Blind

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Emily Sujay Sanchez
Emily Sujay Sanchez
Categories: Art, Blind, Bronx, Latin America, Photography, Women

Miles Aldridge: Virgin Mary. Supermarkets. Popcorn. Photographs 1999 to 2020

Posted on May 30, 2021

Donatella Versace, 2007 © Miles Aldridge

Hailing from North London, photographer Miles Aldridge lived a charmed life as a young boy, his formative years spent within the inner circle that made the 1960s swing. His father, Alan Aldridge was an illustrator who got his start doing covers for Penguin Books before opening his own graphic design firm, INK, in the heart of Soho, where he worked with the Rolling Stones, the Beatles, the Who, and Elton John. “I grew up around my father’s psychedelic images and the rock and roll lifestyle ofSwinging London,” Aldridge says. “My sister Saffron and I would go backstage at Elton John concerts and see the incredible pageantry from behind the scenes.”

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But things fell apart when his parents divorced. “The family imploded,” he says. “I tried to put the pieces back together and of course they never do.” From the age of 10 until he went to art school in his 20s, Aldridge struggled to adapt as his mother fell into a depression and their once vibrant psychedelic home fell apart. When he found punk music in the 1970s, he discovered an outlet to release his pent up rage through music. He then formed a band called the X Men and played psychedelic-garage-punk music.

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Realizing his true talent laid in art, Miles Aldridge left the band to study illustration at Central St. Martins. After school, he worked in publishing doing book covers that stand up to this day but found this line of work was too solitary for his liking. “I wanted to do something more energized, collaborative, bigger, bolder and sexier,” he says. “Being a film director or a photographer were the two career options I toyed with. For a while I did both.”

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Read the Full Story at Blind

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Mystique #1, 2018 © Miles Aldridge
Categories: Art, Blind, Exhibitions, Photography

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