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Posts from the “Crave” Category

Fifty Years After

Posted on September 6, 2016

Photo: Mickalene Thomas Remember Me, 2006 c-print 49 1/2 x 59 x 1 3/4 inches (framed) Edition 4 of 5, with 2 APs.

Photo: Mickalene Thomas Remember Me, 2006 c-print 49 1/2 x 59 x 1 3/4 inches (framed) Edition 4 of 5, with 2 APs.

The March on Washington took place on August 28, 1963, marking the twelfth anniversary of the murder of Emmett Till. Till was just 14 years old when he was lynched in Mississippi, an event so heinous that it became a pivotal catalyst for the next phase of the Civil Rights Movement.

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In 1963, less than five years before he would be assassinated the United States government, Dr. Martin Luther King Jr. stood at the top of Lincoln Memorial and delivered a speech, a speech so powerful that you can hear it in your mind’s ear as you read his words: “I have a dream that one day even the state of Mississippi, a state sweltering with the heat of injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and justice.”

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But where have we come in decades since this speech? We live in an era where extrajudicial executions are a daily operation at the hands of police departments around the country. Where these brutal murders are brazenly broadcast on television with complete disregard—or perhaps intention—to involve a permanent state of PTSD in our countrymen and women. Where protests are called unpatriotic in as much as some in this country pledge allegiance to a flag that represents the politics of the Confederacy.

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Read the Full Story at Crave Online

Categories: 1960s, 1970s, 1980s, 1990s, Art, Crave, Exhibitions, Photography

Toty Ruggeri: Diamond Dogs

Posted on September 6, 2016

Photo: ©Toty Ruggeri, courtesy of Yard Press.

Photo: ©Toty Ruggeri, courtesy of Yard Press.d Dogs,

Picture it: Naples, Italy, 1984: the city had been unhinged by a massive earthquake that struck four years earlier, creating a massive divide between the rich and the poor. The government had allocated $20 of the $40 billion earmarked for reconstruction to create a new class of millionaires, while another $10 billion went into the pockets of the Camorra and the politicians on the take, giving the Mafia entrance into the construction industry. Only one quarter of the funds were used to reconstruction.

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The results were to be expected. Naples, already plagued by the wars between Mafia gangs, a high rate of youth unemployment, ineffective local government, a decaying urban infrastructure, and a trashed public image, was caught in between chaos and despair, but from the darkness new hope emerged.

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That hope took the form of Diamond Dogs, a subterranean getaway from all that was going wrong. From the years 1984 through 1989, Diamond Dogs where artists, musicians, writers, poets, actors, and directors could converge, fomenting a cultural rebirth of Naples in its time of greatest need. Photographer Toty Ruggeri was among the crowd with his camera in hand, capturing the scene as it unfolded.

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Read the Full Story at Crave Online

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Photo: ©Toty Ruggeri, courtesy of Yard Press.

Photo: ©Toty Ruggeri, courtesy of Yard Press.

Categories: 1980s, Art, Books, Crave, Music, Photography

Hamidou Maiga

Posted on September 5, 2016

Photo: Untitled, 1973. © Hamidou Maiga, courtesy of Jack Bell Gallery.

Photo: Untitled, 1973. © Hamidou Maiga, courtesy of Jack Bell Gallery.

Contemporary African art has come to the fore, giving us exquisite insights into the intricacies, nuances, and aesthetics of the oldest peoples on earth. But Africa is not a country; it is a continent as rich and diverse as the DNA of the peoples, who possess the greatest variety in the world. Its arts reflect this in whatever form they may take, providing poetic and philosophical vantage points by which we may consider a wide array of experiences.

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Photography has been an integral part of the aesthetic landscape since its inception in the nineteenth century. Throughout the twentieth-century we have seen portrait photographers such as Malick Sidibé amd Seydou Keita rise in prominence, such is the power of their work to capture the soul of Mali on silver gelatin paper.

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Their success and influence has become a tremendous draw to other great portrait photographers working in other countries. MATE – Museo Mario Testino, Lima, Peru, is particularly attuned to the great photographers of our time. For the third edition of Maestros se la Fotografía, MATE presents Hamidou Maiga, on view now through October 2, 2016. The exhibition features a selection of 36 black-and-white photographs made by the 84 year-old artist made between 1962–1973.

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Read the Full Story at Crave Online

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Photo: Untitled, 1973. © Hamidou Maiga, courtesy of Jack Bell Gallery.

Photo: Untitled, 1973. © Hamidou Maiga, courtesy of Jack Bell Gallery.

Categories: 1960s, 1970s, Africa, Art, Crave, Exhibitions, Latin America, Photography

Paulette Tavormina: Seizing Beauty

Posted on September 5, 2016

Photo: Vanitas VI, Reliquary, After D.B., 2015, Digital pigment print, 1/7, 24 x 24 inches. © Paulette Tavormina, American, born in 1949, courtest of Snite Art Museum at the University of Notre Dame.

Photo: Vanitas VI, Reliquary, After D.B., 2015, Digital pigment print, 1/7, 24 x 24 inches. © Paulette Tavormina, American, born in 1949, courtest of Snite Art Museum at the University of Notre Dame.

The still life is one of the most bourgeois genres of art. Embracing the conventional attitudes that equate materialism with success, the still life most commonly depicts commonplace objects from the man-made and natural worlds. In doing so, it takes objectification to the next level. Rather than turn a living being into an object, it invokes the reverse. Perhaps it might be perverse to fetishize an object to the point of giving it “life” through the application of modes of painting that are designed to seduce the eye, the heart, and the mind.

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Although still lifes first appeared in ancient Greco-Roman art, they went dormant for well over 1,500 years before arising anew in the lowlands of Europe during the sixteenth century at the very time a new merchant class was coming to the fore. As this small but prosperous middle class began to assert it’s self, it found solace in contemplation of the world it knew best. The very idea of elevating the commonplace objects of life to the veneration of art, once reserved for the church and state, is bourgeois at its core.

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Categories: Art, Crave, Exhibitions, Photography

Art AIDS America

Posted on September 2, 2016

400-dpi-7-inch-Rodriguez_IMG_8504_CP-copy-e1472749223416

There is something terrifying about the speed at which people forget a genocide that swept the globe and wiped away a generation. Perhaps it is the nature of trauma itself; once the emergency lets up, the mind just wants to forget. You want to move on, you want to breathe, you want to live—because so many no longer do and there’s no way to make sense of it. Why him? Why her? Why not me? These questions cannot be answered in the moment. We simply need to be.

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In 1981, the public reports began to hit the United States. A new disease was ravaging immune systems, causing violent, early deaths—but what was it? The U.S. Centers for Disease Control did not have a name; they referred to it by the various manifestations the virus took in those grueling early days. The CDC thought they were clever in calling it “the 4H disease,” since the syndrome was most commonly observed in heroin users, male homosexuals, hemophiliacs, and Haitians. But that failed miserably. Not only was it stigmatizing already marginalized groups but it was steeped in ignorance.

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Categories: 1980s, 1990s, Art, Bronx, Crave, Exhibitions, Painting, Photography

The Resolution of the Suspect

Posted on September 1, 2016

Miki Kratsman & Ariella Azoulay- The Resolution of the Suspect (ISBN- 9781934435779.RADIUS BOOKS copy

 

Once an image is firmly embedded in the mind’s eye, it is difficult, if not impossible, to shake the belief that it is “true.” All too often we mistake sight for fact, believing that what we are being shown is what actually occurred. Yet so much of what we see is presented to use secondhand, filtered from sources we have not vetted to the fullest extent. We easily mistake fiction for fact when we are told that what we see is evidence of criminal activity.

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How many times has misinformation been presented as fact? It is impossible to know, for rare are the cases when sources admit to their error without a powerful public outcry demanding it be so. We are conditioned to believe these things do not actually occur, that neither the government nor the media would betray its citizenry for ulterior motives. And yet, with the Freedom of Information Act, we begin to learn just how frequent deceptions and counter operations regularly occur.

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Thus we are left to detect such things on our own, to train ourselves to think critically, to vet sources, and constantly watch for biases underlying another agenda at work. Argentine-Israeli photojournalist Miki Kratsman understands this better than most, having worked in the Palestinian Occupied Territories for over three decades creating photographs for the daily news.
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Categories: Art, Books, Crave, Photography

Martha Cooper & Henry Chalfant: Subway Art

Posted on August 29, 2016

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

Photo: “Midg” with yellow school bus, 1982. © Martha Cooper

 

During the early 1970s, graffiti made it way to the trains of New York, spreading across the city like a virus and capturing the imagination of a new generation of artists in every borough. Sneaking into the yards and walking through the tunnels in the dead of night, graffiti writers were on a mission like no one had seen before—or has seen since. Fame. Recognition. Renown. In the city that never sleeps, Kings were crowned.

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But as quick as it came, it disappeared. Were it not for the photographs, there would be nothing left. Fortunately writers and artists share that same compulsion to document and to collect. As fate would have it, Martha Cooper and Henry Chalfant had both been documenting the same scene at the same time from distinctive vantage points.

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Read the Full Story at Crave Online

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Photo: Blade, 1980. © Henry Chalfant

Photo: Blade, 1980. © Henry Chalfant

Categories: 1970s, 1980s, Art, Books, Bronx, Brooklyn, Crave, Graffiti, Manhattan, Painting, Photography

Vision and Justice: The Art of Citizenship

Posted on August 29, 2016

Kara Walker, African/American, 1998. Linocut. Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, M24376. © Kara Walker, Courtesy of Sikkema Jenkins & Co., New York. Photo: Harvard Art Museums, © President and Fellows of Harvard College.

Kara Walker, African/American, 1998. Linocut. Harvard Art Museums/Fogg Museum, Margaret Fisher Fund, M24376. © Kara Walker, Courtesy of Sikkema Jenkins & Co., New York. Photo: Harvard Art Museums, © President and Fellows of Harvard College.

Over 150 years ago, during the Civil War, the great American abolitionist Frederick Douglass gave a speech titled “Pictures and Progress,” which spoke to the ways in which images shaped our understanding of life. Douglass was speaking at a time when photography had just arrived, creating a type of immediacy comparable to the revolution of the Digital Age. With the advent of photography, the ability to capture moments from life and reproduce them en masse imbued this brand new medium with a superpower: the ability to become agents of justice.

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Whereas art had been used as a tool of the upper class, photography leveled the playing field by becoming the first democratic art to find itself in the hands of the people. Anything and anyone could become a subject in its own right, including facts that had been hidden from plain sight. Images have the ability to convey meaning and understanding in ways that words never could, for “seeing is believing,” as the old saying goes. As it turns out, this applies to both first and secondhand experiences. Images have the ability to bear witness and speak truth to power, to right the wrongs of injustice and become a vehicle for change.

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Categories: Art, Crave, Exhibitions, Photography

Stephen Dupont: Generation AK

Posted on August 28, 2016

Photo: Kabul, 2005. A body building gym new Shah do Shamshira Mosque. © Stephen Dupont, courtesy of Steidl.

Photo: Kabul, 2005. A body building gym new Shah do Shamshira Mosque. © Stephen Dupont, courtesy of Steidl.

Stephen Dupont is a warrior. Ready for battle, on the field, armed with a camera and nerves of steel. For twenty years, he has braved the harsh and unforgiving landscape of Afghanistan, after being inspired by the Mujahideen rising to defend their nation from a Soviet invasion in the 1980s. The Afghani never say die, and they sent the Soviets home, just as they drove back the British during the height of the Empire.

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In 1895, Rudyard Kipling famously penned a little ditty that goes: When you’re wounded and left on Afghanistan’s plains, And the women come out to cut up what remains, Just roll to your rifle and blow out your brains, And go to your God like a soldier.

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A century later, ain’t a damn thing changed.

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Categories: 1990s, Art, Books, Crave, Photography

Joe Conzo & DJ Disco Wiz on “The Get Down”

Posted on August 27, 2016

Photo ©Joe Conzo

Photo ©Joe Conzo

Best known for a series of posh, over-the-top cinematic extravaganzas including Moulin Rouge!, Romeo + Juliet,  and The Great Gatsby, Australian film director, screenwriter, and producer Baz Luhrmann has turned his attention to the small screen with The Get Down, a twelve-episode Netflix series, which premiered on August 12, 2016. Originally budgeted at $7.5 million per episode, the show ended up costing at least $120 million, making it among the most expensive series in television history.

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Set between 1977­–­79, The Get Down is a fictional account of life on the streets of the South Bronx as the twin stars of Hip Hop and disco crossed paths in ways no one could have ever imagined. Attracted to this pivotal moment in American culture, Luhrmann found himself an outsider with no firsthand knowledge of the scene so he brought Nas, Grandmaster Flash, Nelson George, and Kurtis Blow, among others, into the fold to produce and consult on the project. The production was troubled with a series of starts, stops, and stalls that lead to scripts being written, discarded, and revised to such an extent that, according to Variety, some writers had taken to calling the show “The Shut Down.” Variety went on to describe The Get Down as a cautionary tale for Hollywood, but Netflix indicated they had no regrets.

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DJ Disco Wiz, photo ©Jenny Risher.

DJ Disco Wiz, photo ©Jenny Risher.

Categories: 1970s, Books, Bronx, Crave, Music, Photography

Per-Anders Petterssen: African Catwalk

Posted on August 27, 2016

A model poses for photos at a test shoot with the Ivorian designer Barros Coulibaly in the Hôtel des Almadies during the Dakar Fashion Week, Senegal 2014. © Per-Anders Pettersson, courtesy of Kehrer Verlag.

A model poses for photos at a test shoot with the Ivorian designer Barros Coulibaly in the Hôtel des Almadies during the Dakar Fashion Week, Senegal 2014. © Per-Anders Pettersson, courtesy of Kehrer Verlag.

In 1994, Swedish photographer Per-Anders Pettersson (b. 1967) came to South Africa to cover the historic elections that saw Nelson Mandela become President—and he never left. Based in Cape Town, Pettersson has honed his talents on documenting stories across the continent, covering the stories the West knows so well: civil war, famine, disease. But Pettersson’s work shows not only the horrors of life, but its beauties as well—for the story of Africa is as vast, as rich, and as complex as the land itself.

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With the new millennium, global industry has become a phenomenon, bringing the four corners of the earth together as one. In doing so, emerging markets are formed, stages where local talents can shine their light to the world. Since 2010, Pettersson has been privy to a nascent scene, an industry on the come up beyond your wildest dreams.

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Read the Full Story at Crave Online

 

Categories: Africa, Art, Books, Crave, Fashion, Photography

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