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Posts from the “Crave” Category

Gordon Parks: Back to Fort Scott

Posted on August 25, 2016

Gordon Parks (American, 1912-2006). Husband and Wife, Sunday Morning, Detroit, Michigan, 1950. Gelatin silver print, 11 x 14 in. Museum of Fine Arts, Boston; Gift of The Gordon Parks Foundation

Gordon Parks (American, 1912-2006). Husband and Wife, Sunday Morning, Detroit, Michigan, 1950. Gelatin silver print, 11 x 14 in. Museum of Fine Arts, Boston; Gift of The Gordon Parks Foundation

The U.S. Army established Fort Scott in 1842, as they began crossing expanding the nation’s boundaries by expanding onto Native American territory. It was officially laid out as a town in 1857, during a period of violent unrest infamously known as “Bleeding Kansas.” Prior to the Kansas’s admission as a free state to the Union in 1861, abolitionist and pro-slavery factions violently fought for control. Throughout the Civil War, the conflict blazed, but the war settled things and Fort Scott became one of the premier cities on the American frontier in the years leading up to the turn of the twentieth century.

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Although Kansas was always a free state, it was among 35 states in the nation to put Jim Crow laws on the books following the Civil War. Once again Kansas found itself at the center of national conflict, as its segregation laws focused on education, requiring separate schools for black students. It was not until 1954, with Brown v. Board of Education of Topeka (Kansas) that the policy of “separate but equal” was declared unconstitutional.

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Read the Full Story at Crave Online

Categories: Art, Crave, Exhibitions, Photography

Bruno Ceschel: Self Publish, Be Happy

Posted on August 25, 2016

Photo: Nicolas Haeni and Thomas Rousset, untitled, from Self Publish, Be Happy (Aperture/Self Publish, Be Happy, 2015). © Nicolas Haeni and Thomas Rousset

Photo: Nicolas Haeni and Thomas Rousset, untitled, from Self Publish, Be Happy (Aperture/Self Publish, Be Happy, 2015). © Nicolas Haeni and Thomas Rousset

 

Rumi said, “Be the change you want to see in this world.” This is where it all begins. The power to create the world in which we want to live, to exact a future that is happening now, today, using all that exists at our fingertips. The Universe conspires to remind us of this: D.I.Y. Do It Yourself. With the major advancements in digital technology, self-publishing has returned to the forefront of our cultural consciousness. Over the past decade, self publishing has changed the landscape of the art book, introducing a new and vital means to produce and distribute work independent of the industry and its attendant challenges.

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British writer, publisher, and academic Bruno Ceschel understands the need that has emerged, a need for young artists to join the conversation and become a part of the community. He founded Self Publish, Be Happy in 2010 after inadvertently discovering a tremendous demand for new outlets for publishing—though the idea came to him by way of happenstance. Ceschel had curated an exhibition of self-published artist books for A The Photographer’s Gallery, London, and in doing so, generated a response that was large enough to propel the website he had created to share the work into a platform to showcase the latest releases of self-published authors.

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Read the Full Story at Crave Online

Categories: Art, Books, Crave, Photography

Leah Sobsey: Collections

Posted on August 24, 2016

Photo: Agehana maraho, Broad-tailed Swallowtail, North Carolina State University Insect Museum, 2012

Photo: Agehana maraho, Broad-tailed Swallowtail, North Carolina State University Insect Museum, 2012

 

It all began with a thud against the kitchen window one day. A Tufted Titmouse gave up the ghost on photographer Leah Sobsey’s porch. Her instinct to take pictures was triggered, as were childhood memories of wooden drawers of Chicago Field’s Museum collection filled with thousands of dead birds. The birds had been collected and given the full works as taxidermy experts made them ready for viewing in their new life after death as part of one of the Museum’s many compelling natural history exhibits.

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The human urge to college, to catalogue, to organize and preserve—from where does this compulsion come? Perhaps it is purely empirical, a belief that we can only study what we possess, and that as stewards of the earth, the material realm is at our fingertips. Like many before her, Sobsey was drawn to this, and in May 2008, she was awarded a residency at the Grand Canyon.

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Read the Full Story at Crave Online

Categories: Art, Books, Crave, Photography

Kerry James Marshall: Mastry

Posted on August 24, 2016

Artwork: Kerry James Marshall, Untitled, 2009. Acrylic on PVC panel. 61 1/8 x 72 7/8 x 3 7/8 in. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979.

Artwork: Kerry James Marshall, Untitled, 2009. Acrylic on PVC panel. 61 1/8 x 72 7/8 x 3 7/8 in. Yale University Art Gallery, Purchased with the Janet and Simeon Braguin Fund and a gift from Jacqueline L. Bradley, B.A. 1979.

Artist Kerry James Marshall’s life traces the course of American history over the second half of the twentieth century. Born in Birmingham, Alabama, in 1955, Marshall spent his earliest years deep in the heart of Dixie where Jim Crow laws were enforced with a vengeance. In 1963, his family moved to South Central Los Angeles, where the Watts riots would pop off just two years later.

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While the Civil Rights and Black Power movements took hold of national consciousness, Marshall focused his talents of the depiction of African American identity, experience, and consciousness. Deftly translating the unique space that Black America holds, Marshall is driven by passion to render what has been erased visible. In doing so, he sets the record straight, restoring to not only America but the to the world what had been taken from it.

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Read the Full Story at Crave Online

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Kerry James Marshall, Better Homes, Better Gardens, 1994. Denver Art Museum Collection: Funds from Polly and Mark Addison, the Alliance for Contemporary Art, Caroline Morgan, and Colorado Contemporary Collectors: Suzanne Farver, Linda and Ken Heller, Jan and Frederick Mayer, Beverly and Bernard Rosen, Annalee and Wagner Schorr, and anonymous donors. © Kerry James Marshall. Photo courtesy of the Denver Art Museum.

Kerry James Marshall, Better Homes, Better Gardens, 1994. Denver Art Museum Collection: Funds from Polly and Mark Addison, the Alliance for Contemporary Art, Caroline Morgan, and Colorado Contemporary Collectors: Suzanne Farver, Linda and Ken Heller, Jan and Frederick Mayer, Beverly and Bernard Rosen, Annalee and Wagner Schorr, and anonymous donors. © Kerry James Marshall. Photo courtesy of the Denver Art Museum.

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

Richard Misrach: Destroy This Memory

Posted on August 23, 2016

Photo: © Richard Misrach, courtesy of Aperture.

Photo: © Richard Misrach, courtesy of Aperture.

“The sadness will last forever.”

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The last words of Vincent Van Gogh float through my mind as I crack the spine of Destroy This Memory (Aperture). It’s entirely too much, and yet, not nearly enough, but if photographs may be an elegy, Richard Misrach has produced one of the most haunting poems for the dead and gone, the victims of Hurricane Katrina.

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Eleven years ago today, Katrina began as an interaction between a tropical wave and a tropical cyclone in the Bahamas. It quickly intensified into a Tropical Storm and made its way westward, gaining strength over the Gulf of Mexico. On August 29, it touched down in southeast Louisiana, becoming the most destructive natural disaster in United States history. Ranked one of the five most deadly hurricanes in the nation, with more than 1,800 dead, Katrina decimated the city of New Orleans.

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Read the Full Story at Crave Online

Categories: Art, Books, Crave, Photography

“Made You Look” at The Photographers’ Gallery

Posted on August 10, 2016

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Sartorial style and splendor is synonymous with black culture. No matter where you go on this earth, rest assured the men and women of African descent have are freshly dressed, so much so others are quick to knock it off, as though copying was not a cardinal sin. Such are the perils of creativity: not everyone can be an originator or a pioneer. But for those who are, one thing is clear. The attention never stops. The heads will turn, the jaws will drop, and the tongues with clack because invariably style dominates.

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The Photographers’ Gallery, London, understands this and present Made You Look: Dandyism and Black Masculinity now through September 25, 2016. Curated by Ekow Eshun, the exhibition features works from taken from artists working around the world over the course of the past century, Starting with a rare series of outdoor studio prints made in 1904 from the Larry Dunstam Archive, thought to be taken in Senegal. Taken more than a century ago, the young men are nattily dressed in the latest European clothes, belying a love for the three-piece suit and accessories.

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Read the Full Story at Crave Online

 

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

William Eggleston Portraits

Posted on August 10, 2016

Photo: Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee) by William Eggleston, 1974 Wilson Centre for Photography

Photo: Untitled, 1974 (Karen Chatham, left, with the artist’s cousin Lesa Aldridge, in Memphis, Tennessee) by William Eggleston, 1974 Wilson Centre for Photography

 

American photographer William Eggleston (b. 1939) is deeply attuned to the poetry of life, to the spaces in between the words that bridge mind, body, and soul. His photographs are alive with great swaths of color and mood, of atmosphere and feeling that goes beyond words. They are fragments spun in the web of time, captured by Eggleston with a precision that belies his mastery of the medium.

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In celebration, the National Portrait Gallery, London, presents William Eggleston Portraits, the first comprehensive museum exhibition of his work, on view now through October 23, 2016. Showcasing over 100 works, the show features portraits of Eggleston’s friends, musicians, actors and rarely seen images of his family, revealing for the first time the identities of many of the sitters who had previously been anonymous.

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Read the Full Story at Crave Online

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

Mapplethorpe Flora: The Complete Flowers

Posted on August 9, 2016

Photo: Robert Mapplethorpe, Orchid, 1982, Dye Transfer. © Robert Mapplethorpe Foundation. Mapplethorpe Flora: The Complete Flowers, Phaidon.

Photo: Robert Mapplethorpe, Orchid, 1982, Dye Transfer. © Robert Mapplethorpe Foundation. Mapplethorpe Flora: The Complete Flowers, Phaidon.

“Sell the public flowers… things that they can hang on their walls without being uptight,” Robert Mapplethorpe determined. His astute business sense was rivaled only by the subversive delight he took in imbuing the glory of nature with the darker side of life. It was in his pictures of flora that Mapplethorpe found a place contrast showcase the forces of beauty, sex, and death without leaving a trace.

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Unlike his nudes and BDSM scenes, the only flesh exposed here are the tendrils cut off from their source of life, consigned to a slow death inside a vase. But for that moment the flowers are fresh and full of life, for that moment that contain all the promise of presence in the here and now, as their petals burst open and perfume fills the air, that is the moment Mapplethorpe captured for eternity.

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Read the Full Story at Crave Online

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Photo: Robert Mapplethorpe, African Daisy, 1982, Dye Transfer. © Robert Mapplethorpe Foundation. Mapplethorpe Flora: The Complete Flowers,

Photo: Robert Mapplethorpe, African Daisy, 1982, Dye Transfer. © Robert Mapplethorpe Foundation. Mapplethorpe Flora: The Complete Flowers,

Categories: 1970s, 1980s, Art, Books, Crave, Photography

Golden Days Before They End

Posted on August 7, 2016

Photo: © Klaus Pichler, Clemens Marschall, "Golden days before they end", Edition Patrick Frey, 2016.

Photo: © Klaus Pichler, Clemens Marschall, “Golden days before they end”, Edition Patrick Frey, 2016.

Have you ever had a night out that you never wanted to end, so you hopped from place to place hoping they’d stay open ‘til you ran out of steam? Have you ever had a day that turned into a weekend? Or maybe even a week? What is the day became a lifestyle? Then where would you go? These are important questions, people.

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Vienna knows this. They know it well. Well enough to give a name to it: Branntweiner. It’s a dive bar, and it’s ready to go. Some spots open at 5 in the morning for their clientele. Othersopen  at 9, and still others that don’t get going until later on, but what they all have in common is their willingness to provide 24-hour service to the folks who love themselves some alcohol. Because at a certain point, there comes a turn, and that’s when the liquor takes first place and it won’t ever come down. And that when things take on a grim cast, but, still, the party continues on.

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Read the Full Story at Crave Online

 

Categories: Art, Books, Crave, Photography

Into the Groove: The Jazz Portraits of Herman Leonard

Posted on August 5, 2016

Photo: Duke Ellington by Herman Leonard. Gelatin silver print, 1958.

Photo: Duke Ellington by Herman Leonard. Gelatin silver print, 1958. National Portrait Gallery, Smithsonian Institution © Herman Leonard Photography, LLC.

In August 2005, Hurricane Katrina hit and laid to waste so many lives in the city of New Orleans. The home and studio of photographer Herman Leonard (1923–2010) was destroyed when the 17th Canal Levee broke near his home. The storm claimed 8,000 silver gelatin prints Leonard had made; fortunately, Herman’s crew had gathered the negatives and placed them in the care of the Ogden Museum of Southern Art. But Leonard’s time in New Orleans had come to a close after nearly a quarter of a century on the local jazz and blues scene. Leonard relocated to Studio City, California, where he spent his final years re-establishing his business.

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And what a business it was. Leonard recounted his early years in an interview with JazzWax, recalling, “I opened my first studio on Sullivan Street in New York’s Greenwich Village in 1948. I worked free-lance for magazines and spent my spare time at places like the Royal Roost and Birdland. I did this because I loved the music. I couldn’t wait to be with Lester Young at a club and hear him and photograph him playing his music. I hoped that on film I could preserve what I heard. It didn’t hurt that I got into the clubs for free. My photographs helped publicize the clubs, so owners let me in.”

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Read the Full Story at Crave Online

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Photo: Billie Holiday by Herman Leonard. Gelatin silver print, 1949. National Portrait Gallery, Smithsonian Institution © Herman Leonard Photography, LLC. Read more at http://www.craveonline.com/art/1017217-jazz-king-photographs-herman-leonard-national-portrait-gallery#tz6wkDjUMWC5zHPO.99

Photo: Billie Holiday by Herman Leonard. Gelatin silver print, 1949. National Portrait Gallery, Smithsonian Institution © Herman Leonard Photography, LLC.
Read more at http://www.craveonline.com/art/1017217-jazz-king-photographs-herman-leonard-national-portrait-gallery#tz6wkDjUMWC5zHPO.99

Categories: 1960s, Art, Crave, Exhibitions, Manhattan, Music, Photography

Michael Gross: Focus

Posted on August 3, 2016

Richard Avedon © Adrian Panaro

 

Michael Gross has had his finger on the pulse of high society, documenting their luxurious lifestyles for more than three decades. With a chair in the front row of the fashion shows for a decade, Gross delved into the corners of the world that few had known with his seminal book, Model: The Ugly Business of Beautiful Women (William Morrow, 1995), exposing the underbelly of the industry at the height of the supermodel craze.

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The book had been Richard Avedon’s idea. Gross had a column in The New York Times and was writing long form pieces for New York magazine, including a cover story detailing the historic rivalry between Vogue and Harper’s Bazaar. Gross had been thinking of expanding the story into a book but Avedon, who had been a major source, thought no one cared about ancient beef between Carmel Snow and Diana Vreeland. Instead, he suggested a book on the modeling industry, which no one had ever done before.

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Read the Full Story at Crave Online

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

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