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Posts from the “Photography” Category

Builder Levy: Appalachia USA

Posted on February 22, 2016

Photo: Builder Levy. Sisters, Osage, Scotts Run, Monongalia, West Virginia, 1970. Gold-toned gelatin silver print.

Photo: Builder Levy. Sisters, Osage, Scotts Run, Monongalia, West Virginia, 1970. Gold-toned gelatin silver print.

Appalachia that stretches across the eastern United States, running from New York down to northern Mississippi. The former hunting grounds of the Cherokee and other indigenous groups, Appalachia became home to colonists seeking to escape oppressive British rule. Later, it was marked by the routes and hideouts of slaves escaping on the Underground Railroad. Growing into a center of abolitionism, more than a quarter million southern mountaineers joined the Union army during the Civil War.

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But it was after the war that things began to change, as Appalachia was recognized as a distinctive cultural region in the late nineteenth century. Large-scale logging and coal mining firms brought industry to the region, taking advantage of the abundant natural resources of the land. Miners were recruited from southern prison conscript labor, local subsistence farms, African American communities in the south, and even towns and villages throughout Europe.

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Despite the profits made by the mining and logging companies, the people of Appalachia have long struggled with poverty, as health care and educational facilities failed to meet the communities’ needs. At the same time, the region became a source of enduring myths and distortions about its inhabitants. As the media began focusing on sensationalized stories like moonshining and clan feuding, Appalachia became seen as America’s white ghetto, home to an uneducated and violent underclass.

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Read the Full Story at Crave Online

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

Anton Perich: Secret Histories

Posted on February 15, 2016

Photo: ©Anton Perich. Jerry Hall, 1979, ink on paper, 3X4 feet.

Photo: ©Anton Perich. Jerry Hall, 1979, ink on paper, 3X4 feet.

Artist. Editor. Revolutionary. Anton Perich has been exploring the boundaries of art and culture since the late 1960s, when he lived in Paris. Upon arriving in New York City in 1970, Perich charted his own path that included, among many things, the invention of an electric photography machine in 1977–87. The work was truly ahead of its time, as the mechanization of the work of art had not yet been embraced by the world. Perich speaks with Crave about ingenious invention, one which prefigured the very era in which we live.

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What was the inspiration for electric photography?

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Anton Perich: The inspiration was TV. The old-fashion cathode tube. I didn’t grow up with television in former Yugoslavia. I watched some in Paris where I was in the late ‘60s. It was magic, French TV with sensual overtones, with sexual undertones. In the ‘70s, before building the painting machine, I did lots of photography and video. I really loved the video image, and I wanted to paint and create photography with electricity. I realized then that the future of image would be electric and not chemical. Immediately after completion of the machine I produced some very large photographs with the machine. About 5×6 feet, ink on paper. Looking at them today, they definitely told the future of the electric image. They look like they were made with Photoshop today, and not 35 years ago.

 

Read the Full Story at Crave Online

Categories: 1970s, Art, Crave, Manhattan, Photography

Timeless: The Photographs of Kamoinge

Posted on February 9, 2016

Boy on a Swing. New York, 1976. Beuford Smith. Read more at http://www.craveonline.com/art/950635-books-timeless-photographs-kamoinge#UohGK1Rfmw0zxmMi.99

Boy on a Swing. New York, 1976. Beuford Smith.

In 1963, the Kamoinge Workshop produced their first portfolio of photographs taken by members who made up the group. The portfolio included a statement that read: “The Kamoinge Workshop represents fifteen black photographers whose creative objectives reflect a concern for truth about the world, about society and about themselves.” Accompanying that were the words of member Louis Draper, who elegantly wrote: “Hot breath steaming from black tenements, frustrated window panes reflecting the eyes of the sun, breathing musical songs of the living.”

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A collective was born. The word Kamoinge is derived from the Gikuyu language of Kenya. Translated literally, it means “a group of people acting together.” This spirit of camaraderie and family suffused the development of the group, which included Roy DeCarava, Anthony Barboza, Louis Draper, and Shawn Walker. Early meetings were held in DeCarava’s midtown Manhattan loft. The following year, they rented a gallery in Harlem on Strivers Row, where they held meetings and hosted exhibitions. When the gallery closed, they moved the meetings to other members’ homes in the city, keeping their bonds intact throughout the years.

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In 2004, founding member Anthony Barboza was selected President, and set out a course to create a photography book showcasing the group’s legacy. Together with fellow member Herb Robinson, Barboza has edited Timeless: The Photographs of Kamoinge (Schiffer). Featuring more than 280 photographs taken over fifty years, Timeless is an extraordinary collection of work that reminds us that the whole is greater than the sum of its parts.

Read the Full Story at Crave Online

Photo: Bridge on the Beach. Nassau, Bahamas, 2007. June DeLairre Truesdale.

Photo: Bridge on the Beach. Nassau, Bahamas, 2007. June DeLairre Truesdale.

Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Bronx, Brooklyn, Crave, Manhattan, Photography

Clara Vannucci: Bail Bond

Posted on February 4, 2016

Photo: ©Clara Vannucci, NYC - Baltimore, 2012-2014, courtesy of Fabrica

Photo: ©Clara Vannucci, NYC – Baltimore, 2012-2014, courtesy of Fabrica

In the United States, a person who has been arrested is presumed innocent until proven guilty in a court of law. The burden of proof is on the prosecution; they must provide compelling evidence that shows the accused is guilty beyond reasonable doubt. In the interim, the accused may be entitled to release from jail if granted bail by the court. It is here that the bail bondsman finds work. The bail bondsmen have a standing security agreement with local court official, in which the post an irrevocable bond for the defendant to appear in court. If they fail to do so, the bondsman can legally become a bounty hunter for the state and deliver fugitives to the jurisdiction of the court to recover the money paid under the bond. Bondsmen generally charge a fee of 10% for a state charge, and 15% for a federal bond.

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The practice of bounty hunting is illegal in most countries, but in the United States it is as homegrown as the Second Amendment. The presumption of innocence protects everyone, including criminals who might take advantage of the opportunity to run. In Band Bond (Fabrica), Italian photographer Clara Vannucci goes inside the New York City system, working alongside the bondsmen themselves, traveling through Brooklyn, the Bronx, Queens, and Manhattan—even crossing state lines to track a fugitive to Baltimore, Maryland.

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Read the Full Story at Crave Online

Photo: ©Clara Vannucci, NYC - Baltimore, 2012-2014, courtesy of Fabrica

Photo: ©Clara Vannucci, NYC – Baltimore, 2012-2014, courtesy of Fabrica

Categories: Art, Books, Brooklyn, Crave, Manhattan, Photography

The Fence: A Conversation with Sam Barzilay

Posted on January 31, 2016

Fence 2014 by Jan Fields

Fence 2014 by Jan Fields

The fifth edition of The Fence has returned. Brooklyn’s best public photo project is seeking submissions now through March 7, 2016, and I am honored to be on this year’s jury. Produced by United Photo Industries (UPI), the pioneering Brooklyn-based producer of public photography installations and events, The Fence has expanded to include five major cities across the United States, expecting to draw three million visitors in New York, Atlanta, Houston, Santa Fe, and Boston. Forty photographers will be chosen by the jury to participate, and the Jury’s Choice winner will receive a cash prize of $5,000 to support their work, a Leica T camera package, and a solo exhibition at Photoville 2016. Oo la la! Sam Barzilay of UPI sat down to chat about The Fence, offering his insights into UPI’s dynamic mission to introduce photography to the public on a major scale.

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So excited to see The Fence is now in its 5th edition. Please speak about the inspiration for The Fence. Where did the idea come from and how did it manifest?

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Sam Barzilay: The idea for The Fence was born while walking through Brooklyn Bridge Park back in the winter of 2011. At that time, the park was in its early stages of development with Piers 1 and 6 open to the public while the rest of the areas that we now get to enjoy where still under construction. What connected the two finished sections was a long “greenway” that offered for a safe and pleasant route for pedestrian and biking traffic between DUMBO and Atlantic Avenue—and lots of construction fences all along that same route. The combination of a large and “captive” audience (the greenway acting as a long and scenic corridor) and the presence of so many fence surfaces made us see the huge potential of presenting powerful photographic narratives in a large format public setting, rather than more traditional advertising displays one would find outdoors. Brooklyn Bridge Park was immediately receptive to our idea of bringing photography to the Park, and after a brilliant meeting with Lauren Wendle at PDN Magazine, a new partnership was born, we dove right into it and never looked back!

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It’s now grown into a five­city phenomenon, with partnerships around the country! I’m truly amazed by the success, Can you speak about why you decided to expand The Fence beyond its original Brooklyn location?

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Since its inception, The Fence has been singularly focused on cultivating new and wider audiences for photography everywhere – a goal that can only be achieved through long ­term partnerships with forward ­thinking cultural organizations. Brooklyn Bridge Park has been a staunch supporter of the project since Day 1, and it has proven a fantastic launching pad to propel the project’s geographical reach and expand our audience further every year.

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I love your approach to public art, and incorporating photography into the mix. What are the biggest challenges of producing The Fence?

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The biggest challenges we face in producing The Fence are two­fold. Ensuring that we can secure the best possible location for each exhibition ­ combining the right mix of organic foot traffic and accessibility ­ and adapting to the ever­changing landscape inherent in working with sites that are by definition under construction and therefore in constant flux (as The Fence primarily relies on appropriating construction­fence surfaces).

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What do you find to be the most satisfying aspect of producing The Fence?

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Perhaps the most satisfying of The Fence has been the reaction of the public when a new Fence exhibit goes up. The Fence has been a labor of love for all of us since its inception 5 years ago, and we are always part of the install team in each city when a new exhibition is unveiled. At every city we’ve travelled, people of all ages and all walks of life go out of their way to tell us about how much they enjoy seeing the work time and time again, and share their thoughts and comments about each year’s exhibit.

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Knowing that we’ve made an impact in people’s daily lives and perhaps helped introduce even one more person to the love of photography ­ what more could we ask for? And of course we also love hearing from the photographers about new job opportunities coming their way, selling prints, and seeing a marked increase in the audiences for their work, as a direct result of being featured on The Fence.

Fence 2015. Courtesy of United Photo

Fence 2015. Courtesy of United Photo

Categories: Art, Bronx, Exhibitions, Photography

Aaron Huey: Mitakuye Oyasin

Posted on January 21, 2016

Photo by Aaron Huey, courtesy of Radius Books

Photo by Aaron Huey, courtesy of Radius Books

Established in 1889, Pine Ridge is the site of the Wounded Knee Massacre (1890) and the Wounded Knee Incident (1973). Home to the Oglala Lakota, one of the seven tribes of the Great Sioux Nation, Pine Ridge is the eighth largest reservation in the United States. Yet despite its size, only 74K acres are suitable for agriculture. With a per capita income of about $6K, the unemployment rate is at a staggering 90% (versus 10% for the rest of the country). The life expectancy for men is 48, roughly the same as Afghanistan and Somalia, and the infant mortality rate is five times the national average.

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The United States policies toward the Oglala Lakota have always treated the natives of this land as the enemy within. Twenty Congressional Medals of Honor for Valor were handed out after the Wounded Knee Massacre, in which more than 300 prisoners of war were slaughtered. Considered the end of the Indian wars, the United States government had only just begun its occupation and systemic destruction of the surviving generations.

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In 2005, photojournalist Aaron Huey began documenting Pine Ridge as part of a story about poverty in America. As he writes in the afterword to his monograph, Mitakuye Oyasin (Radius Books), “In the beginning, it was all just statistics…. Over time it became clear to me that these statistics came from a deep historical wound. And then my photographs of Pine Ridge became a story about a prisoner of war camp, a story about genocide, a story about stolen lands…. I have stumbled into something sacred on Pine Ridge. It took my eyes a long time to see that, but my heart knew it right away.”

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Read the Full Story at Crave Online

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Categories: Art, Books, Crave, Photography

This Light of Ours: Activist Photographers of the Civil Rights Movement

Posted on January 18, 2016

Photo: Matt Herron, Selma–Montgomery March, Alabama, 1965: Rev. Martin Luther King leads singing marchers toward Montgomery.

Photo: Matt Herron, Selma–Montgomery March, Alabama, 1965: Rev. Martin Luther King leads singing marchers toward Montgomery.

In 1857, Frederick Douglass observed, “This struggle may be a moral one, or it may be a physical one, and it may be both moral and physical, but it must be a struggle. Power concedes nothing without a demand. It never did and it never will. Find out just what any people will quietly submit to and you have found out the exact measure of injustice and wrong which will be imposed upon them, and these will continue till they are resisted with either words or blows, or with both. The limits of tyrants are prescribed by the endurance of those whom they oppress.”

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A century later, Dr. Martin Luther King Jr. brought these words to life with the Civil Rights Movement. He made A demand and, with the 1964 Civil Rights Act, a measure of the demand was met. But it was not met without retaliation, and ultimately Dr. King would pay with his life, a life that the government who had him killed now honors with a Federal holiday.

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Read the Full Story at Crave Online

 

Photo: Maria Varela, near Canton, Mississippi, 1966: A hand-drawn black panther indicates a change of movement symbolism as young men joined the Meredith March in response to the call for Black Power.

Photo: Maria Varela, near Canton, Mississippi, 1966: A hand-drawn black panther indicates a change of movement symbolism as young men joined the Meredith March in response to the call for Black Power.

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

Ishiuchi Miyako: Postwar Shadows

Posted on December 21, 2015

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #73, 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 43.7 x 53.7 cm (17 3/16 x 21 1/8 in.) Sheet: 45.4 x 55.7 cm (17 7/8 x 21 15/16 in.) Accession No. 2009.96.3 Copyright: © Ishiuchi Miyako Object Credit: The J. Paul Getty Museum, Los Angeles

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #73, 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 43.7 x 53.7 cm (17 3/16 x 21 1/8 in.) Sheet: 45.4 x 55.7 cm (17 7/8 x 21 15/16 in.) Accession No. 2009.96.3 Copyright: © Ishiuchi Miyako Object Credit: The J. Paul Getty Museum, Los Angeles

This year marked the seventieth anniversary of the bombing of Hiroshima and Nagasaki, which killed over 129,000 people and decimated the country of Japan. Although nearly half the people died on the first day, the other half clung to life in desperate shape, only to die from the effect of the burns, radiation sickness, and other injuries compounded by illness and malnutrition. The only use of nuclear weapons for warfare in history, the bombings destroyed primarily civilian populations.

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In the decades that followed, the bombings continued to have effect on subsequent generations born into the post-nuclear landscape. Self-taught photographer Ishiuchi Miyako was born two years after the war and stunned the Japanese photography establishment in the late 1970s with grainy, haunting, black-and-white images of Yokosuka—the city where Miyako spent her childhood and where the United States established an important naval base in 1945.

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Working prodigiously over the next forty years, Miyako has created an incredible body of work that has been collected for “Ishiuchi Miyako: Postwar Shadows”, now on view at the J. Paul Getty Museum, Los Angeles, through February 21, 2016, and is published in a book by the same name.

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Read the Full Story at Crave Online

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #58, 1976 - 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 45.5 x 55.8 cm (17 15/16 x 21 15/16 in.) Framed: 54.4 × 65.7 × 4.5 cm (21 7/16 × 25 7/8 × 1 ¾ in.) Accession No. EX.2015.7.76 Copyright: © Ishiuchi Miyako Object Credit: collection of Yokohama Museum of Art Repro Credit: Photo © Yokohama Museum of Art

Photo: Creator(s): Ishiuchi Miyako (Japanese, born 1947) Title/Date: Yokosuka Story #58, 1976 – 1977 Culture: Japanese Medium: Gelatin silver print Dimensions: Image: 45.5 x 55.8 cm (17 15/16 x 21 15/16 in.) Framed: 54.4 × 65.7 × 4.5 cm (21 7/16 × 25 7/8 × 1 ¾ in.) Accession No. EX.2015.7.76 Copyright: © Ishiuchi Miyako Object Credit: collection of Yokohama Museum of Art Repro Credit: Photo © Yokohama Museum of Art

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

Art Basel Miami Beach 2015 Edition

Posted on December 11, 2015

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Check Out
Art Basel Miami Beach 2015
Coverage at Crave Online

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A few highlights from the week include:

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

Incas wallpaper panel, 1818, Joseph Dufour et Compagnie (founded Mâcon, France, 1801–23), manufacturer, Block-printed on handmade paper, Courtesy of Carolle Thibaut-Pomerantz

“Philodendron: From Pan-Latin Exotic to American Modern”
Wolfsonia-Florida International University
© Lorna Simpson. Direct Gaze, 2014 (detail)

© Lorna Simpson. Direct Gaze, 2014 (detail)

Top 5 Highlights at
Art Basel Miami Beach

 

Amarillismo by Wilson Diaz

Amarillismo by Wilson Diaz

Wilson Diaz: Amarillismo
at Instituto de Vision at Art Basel
© James Rieck. Flared Bell Bottoms, 2015.

© James Rieck. Flared Bell Bottoms, 2015.

Top 5 Highlights at
PULSE Contemporary Art Fair

© Guy Richards Smit

© Guy Richards Smit

Guy Richards Smit: Mountain of Skulls
Charlie James Gallery at PULSE

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

Jamel Shabazz: Tour of Duty on Rikers Island

Posted on December 1, 2015

Photo: Jamel Shabazz

Photo: Jamel Shabazz

Despite the surging growth of the prison industrial complex, very little is known of what goes on inside prisons and jails aside from what is shared with us by the people who have actually done time or worked in them. Photographer Jamel Shabazz worked as a Corrections Officer for the New York City Department of Corrections. He joined the force in 1983, just as the crack epidemic hit the streets, and worked inside the belly of the beast for 20 years. Shabazz spoke with Crave about the complexities of life inside the prison industrial complex.

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Miss Rosen: Why do you think this subject is kept, for the larger part, out of the mainstream media? Why is it important to you to speak about your experience as an NYC corrections officer?

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Jamel Shabazz I think that the mainstream media has been mute for far too long on this issue primarily because, the overwhelming majority of those who are incarcerated are young black and Hispanic males. It is a known fact that the prison industrial complex is a multi-billion dollar corporation and Wall Street investors have gained great returns in their ventures regarding prisons. In all actuality, numerous businesses and organizations have profited from mass incarceration. As a witness to this, I feel the need to offer a different perspective about the system, as all too often Correction Officers are viewed in a negative light.

Read the Full Story at Crave Online

Photograph by Jamel Shabazz

Photograph by Jamel Shabazz

Categories: 1980s, 1990s, Art, Crave, Photography

Girls on Film: Michele Quan X Guzman X Geoffrey Beene

Posted on December 1, 2015

Michele Quan, photo by Guzman

Michele Quan, photo by Guzman

Fashion designer Geoffrey Beene was an American pioneer, challenging the industry at every turn. He had his own way of doing things, breaking and rewriting the rules. He created new seasons, Summer/Winter, and designed brilliantly crafted pieces accordingly. “Design is a revelation to me. It’s like taking something that is not alive and giving it form, shape, substance, and life,” Mr. Beene observed.

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While his clothes reflected his intuitive understanding for women’s desire to be comfortable and glamorous at the same time, Mr. Beene also understood the power of the photograph to communicate this understanding to consumers. Mr. Beene observed, “Clothes should look as if a woman was born into them. It is a form of possession, this belonging to another.” And if the clothes belong to the woman, the photograph is the perfect invitation to the viewer to participate.

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From 1988–1995, Mr. Beene partnered with Guzman, the husband/wife photography team of Russell Peacock and Connie Hanson, to produce a series of photographs of Michele Quan modeling the clothes. As Guzman recalls, “Mr. Beene introduced us to Michele. She was a good choice for his designs during that period. Both were elegantly streamline! Mr. Beene always played with contrasts. He would juxtapose an androgynous jumpsuit with a provocative layer of sheer lace. He would mix refined fabrics with quotidian materials like cashmere with metallic lame. He was thinking about the approaching millennium (2000) and what women should wear. For the modern woman comfort and simplicity were essential. Michele represented the modern woman in that not to distant future. Her personality matched his objectives. Elegant yet understated, feminine but powerful.”
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Read the Full Story at Crave Online

Michele Quan, photo by Guzman

Michele Quan, photo by Guzman

Categories: 1980s, 1990s, Art, Crave, Fashion, Photography, Women

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