zondag 30 december 2007
Sagan, FrancoiseNew York. Textes de Francoise Sagan.
Paris / Éditions Tel / 1956 / 108 p. / pb. / 30x23.7cm / gravure plates / - / DBL / Buch / Photographie - Anthologie - USA - Stadtansichten, New York - 20. Jahrh. - Bischof, Werner - Boubat, Eugène [sic! Edouard?] - Cartier-Bresson, Henri - Corsini - Darnat, Jean-Pierre - Élisofon, Éliot [sic! Eliofson, Eliot?] - Hass, Ernst [sic! Haas, Ernst] - Mili, Gjon - Parry, Roger - Rselli, AuroSlaars, Reginald - Szasz, Suzanne
New York is awash in photojournalism -- but is it art? by Jodi Mailander Farrell
McClatchy Newspapers (MCT) 22 October 2007
NEW YORK—The panoramic photograph of a bootless soldier, sprawled almost gracefully in death in Afghanistan, might have made readers pause for a moment if it had appeared in a newspaper or magazine. But when “Taliban Soldier” filled a New York City gallery wall—blown up to near life size—it made the art world take note.
Taken with a large-format camera, the monumental 4- by 8-foot print was presented for $15,000 four years ago at the Ricco Maresca Gallery, a Chelsea stop usually favored by folk and fine art collectors. It catapulted the Paris-based photographer Luc Delahaye, who shot the image on assignment for Newsweek, into international prominence. And it signaled a turning point for a small club of international war and “conflict” photojournalists, who now see their images appearing regularly in gallery and museum shows.
Suddenly, the reality of war, famine, poverty and pain has turned into fine art.
“Great collectors are always looking to be delighted by something that they don’t know about, and this excites some of them,” says Bill Hunt, the former Ricco Maresca co-director of photography who introduced Delahaye to gallery crowds.
Two years ago, Hunt opened his own Chelsea gallery, Hasted Hunt, with co-owner Sarah Hasted. Their inaugural show featured photos by members of VII Photo Agency, an international collective of professional photographers whose images regularly appear in Time, Newsweek, New York Times magazine, The Guardian and the New Yorker.
If you travel to just about any major American city this fall, you will find the work of photojournalists on display. Photos by Delahaye, for instance, are up through Nov. 25 at the J. Paul Getty Museum at the Getty Center in Los Angeles, where a show that opens in December will feature seven decades of photos from Hungarian Andre Kertesz, one of the seminal figures of photojournalism.
But when it comes to totally immersing yourself in the world of photojournalism in its current state as art “du jour,” there’s no better place than New York, backdrop to some of the last century’s best street photography.
In addition to photo-conscious galleries mostly clustered in Chelsea, Greenwich Village and Midtown, the city is home to the International Center of Photography, a museum and school where you can always catch the works of historical and working photojournalists. The center has a quirky gift shop, with cheap pinhole, fisheye and Holga cameras; and all kinds of trinkets—pillows, purses, trays, coasters—with images on them. Book signing receptions with photographers occur regularly.
New York also has Dashwood Books, a two-year-old independent bookstore in the Village devoted entirely to contemporary photography. The place is owned by David Strettell, former cultural director of Magnum Photos, another international agency of working photographers.
Photo books have risen to their own art form in the past decade. Many curators now feature books as a significant part of exhibitions. For budget-minded picture fans like me, photo books—which sell for as little as $40—are the next best thing.
Here is where I should admit to a personal tie to photography. My husband, Patrick Farrell, has been a staff photographer at the Miami Herald for 20 years. But, like others in my 40-something age bracket, my interest in photography goes back to news images burned into memory soon after birth: UPI photographer Stan Stearns’ image of a three-year-old JFK Jr. saluting the flag during his father’s funeral procession; AP photographer Eddie Adams’ close-up of a Vietcong prisoner’s execution in Saigon; Boston Herald American photographer Stanley J. Forman’s Pulitzer Prize-winning image of a white man using the American flag as a spear to attack a black man at an anti-busing rally in Boston; and, later, Magnum photographer Stuart Franklin’s photo of a lone protestor trying to stop advancing tanks at the Tiananmen Square protests.
It’s no surprise that a generation raised on multi-media and consumerism would not only want to look at frozen moments in time, but also “own” them.
Despite the eyebrow-raising sale price of Delahaye’s billboard-sized photo, the fact is that most photos by professional lensmen and women today are relatively affordable compared to other art forms. That’s part of the medium’s appeal, especially among young art collectors. While a Matisse or Picasso—or even a Diane Arbus photo—may be out of reach, images by prominent working photojournalists can be purchased for under $1,000.
And they’re accessible. Intimidated by walking into a hushed art gallery? An original print by Weegee—a news photographer from the 1930s known for stark black-and-white photos of New York crime scenes and car wrecks—recently appeared on eBay for $1,250.
“Photojournalism has emerged from the backwater of art collecting, especially among people in their late 30s and early 40s who want to collect art and have a greater affinity to the photographic medium,” says Frank Evers, VII Photo Agency’s managing director and a photo collector. “People are reaching out and broadening their horizons, saying `How can I get great art that’s not crazily priced? I don’t want to collect classics; I want something meaningful to me.’ “
There are an estimated 20,000 newspaper photographers in the United States alone today, compared with half that number a decade ago. Most photojournalists presenting their works in galleries come from independent photo agencies, such as VII, Magnum, Sygma and Black Star. That’s not only because they’re tops in their field; they also own their work, a copyright privilege most staff photographers at newspapers and magazines do not possess.
Today’s globe-trotting photojournalists draw inspiration from the war and street photography of Robert Capa and Henri Cartier-Bresson, as well as the storytelling abilities of American magazine photographers, such as W. Eugene Smith, Dorothea Lange and Walker Evans. Curators call it “reportage,” but most observers will recognize the haunting images hanging on gallery walls today as last week’s magazine spreads documenting some of the world’s most troubled spots: Somalia, Rwanda, the West Bank and the Gaza Strip, Bosnia and Chechnya.
The photos are not the result of working journalists thrust into news events, shooting what they see and relying on the “F8 and Be There” philosophy. They’re not just in the right place at the right time, their camera’s f/stop aperture stuck on the reliable F8 setting.
“Collecting photojournalism is not a trend or fad—it’s because first and foremost these photographers are artists,” says Evers, the husband of VII photographer Lauren Greenfield, whose images of youth culture and body image sell for $1,500 to $6,000 at the Pace/MacGill Gallery in New York.
“Their day job as a journalist does not take away from the fact that they see the world and craft images in a way that creates a response from curators and collectors,” Evers says. “It doesn’t matter how you get there—if you have an artist’s eye, they’ll collect you.”
Among the names to watch for on your next New York gallery visit:
James Nachtwey, president of VII Photo Agency, who has been covering world crises since 1981 and was one of the first photographers on the scene at 9/11.
Eugene Richards, another VII photographer known for unflinching black-and-white photos that have captured breast cancer, aging and poverty.
Mary Ellen Mark, a former Magnum photographer, addresses social issues such as runaway children, drug addiction and prostitution. American Photography magazine readers once voted her their favorite woman photographer of all time.
Alex Webb, a Magnum photographer who has documented life in the American South, the Caribbean and Mexico.
Christopher Morris, a founding member of VII who has covered more than 18 wars and foreign conflicts, as well as the presidency of George W. Bush in an essay he calls “Republican America.”
Morris, long-haired and usually sporting a scarf around his neck, has in particular resonated with some collectors. (The scarf, by the way, is more about function than fashion—foreign correspondents wear them to filter smoke and stench.)
“If anybody captures the quintessential photojournalist, it’s long-haired Chris Morris, jumping from war to war, with his scarf around his neck,” says VII’s Evers. “He sees the world in a different way and he has a drive to capture that into an image.”
Striving for perfect composition and color, these shooters also are focused on finding what Cartier-Bresson called the “decisive moment”—a truthful photo that captures the poetry of life without exploiting it. Like a stern tongue-lashing, these images stay with the viewer. They elicit a response without descending into the sentimentality of a Hallmark card or the sensationalism of a screaming headline. The end result looks more like an Old Masters painting than a mug shot.
“‘Taliban’ has the gravity, clarity and resonance of a great history painting,” raved a Village Voice review by critic Vince Aletti at the time of Delahaye’s first New York gallery exhibit. “Sprawled in a ditch among dead leaves and scorched grasses, the soldier regards us through half-opened eyes. His mouth hangs open, as if for some final words, but there’s a deep, red gash in his jaw and a splatter of dried blood on his dusty clothes. Someone has taken his shoes and rifled through his wallet, which was left nearby; there are footprints all over the sand, but he’s alone now—or would be, were the photographer not hovering above him and all of us looking over his shoulder.
“It’s a terrible thing to peer at death like this, to look it in the eye, but Delahaye’s picture never feels voyeuristic or propagandistic,” Aletti wrote. “Rather, like Mathew Brady’s photos of the Civil War dead or Larry Burrows’s pictures from Vietnam, it allows us to glimpse the very mundane, very human toll of war.”
Should death and suffering be a collector’s item, hung on a home’s wall? With photos from the aftermath of Hurricane Katrina now appearing in art galleries, the controversy is not just over photojournalism as art; it’s whether art should reflect reality, particularly when that reality is still fresh in our minds. Today’s news consumers have become accustomed to seeing images of dead people in newspapers and on TV, but seeing a huge print of one in an art gallery is quite different. And it makes many people downright uneasy when that image is sold for a lot of money.
Delahaye, for one, avoided the debate. The Frenchman left Magnum Photos and declared the end to his photojournalistic career in 2004. Now, he says, he’s an artist.
But, like most art, that’s all in the eye of the beholder.
Bruce Silverstein of Silverstein Photography, one of New York’s most prominent photo galleries, represents the estates of such historic greats as Robert Doisneau (known for his playful images of 1950s Parisian street life) and Ernst Haas (a Magnum photographer who shot innovative color essays for Life magazine). Silverstein favors “documentary” photography from street shooters out to get art, not an assignment. While he recognizes that some photojournalists today have artistic tendencies (he admires the work of Nachtwey, a contract photographer for Time magazine, in particular), Silverstein says there’s a big difference between capturing a historic event and shooting “art.”
“A few of these guys are really good, but one of the difficulties with photojournalism, which makes it hard to cross over into fine art, is that photojournalists depend on their subject matter to make an image,” Silverstein says. “It’s the same problem with a fashion photo: If you take a picture of a beautiful woman, does it mean you have beautiful picture? There are so many people covering events today, someone really has to be unique in order to shine through in this field.”
I know I have already made my favorites list for 2007 but I do want to slip one late arrival in under the wire while we still have a couple days left. Jazz by Ed Van Der Elsken, originally published by De Bezige Bij in Amsterdam in 1959, has just been released in a facsimile edition from Karl Lagerfeld’s Edition 7L in Paris. This is one of several books that Edition 7L has created a facsimile edition of and in each case they have done so with beautiful results.
This small book, unassuming from the outside with its 6 ¾ by 7 ¼ inch trim size, reveals itself within the span of just a few pages to be a remarkable document in both photography and book design. Elsken’s small format camera and fast speed film is the perfect combination to catch the spontaneity of what is transpiring both on stage and in the crowd. Within a few frames he shifts our vantage point from passive observers of the musicians to placing us in the shoes and on stage among the players. Jumping from wide shots to extreme close-ups, the strength of the photography is its ability to be as energetic as the music.
The design, also by Elsken, is another achievement in raising the energy level. The page layouts have their own rhythms and structure that are as metaphorically musical as necessary to create a visual accompaniment that expresses the excitement felt while listening to the music. The book starts with the crowd responding to the first notes and the layout progresses in a fairly traditional way until Miles Davis steps to center stage; Elsken makes a double page spread out of a vertical photo and turns Miles sideways so he defies gravity.
Parr and Badger in their citation of this book in Photobook Vol. 1 name William Klein’s New York as a likely influence to the design. I would add that some of Elsken’s page layouts echo the John Hermansader and Reid Miles Blue Note album covers of the late 1950’s with their heavily cropped and contrasty photos of musicians emerging from the darkness. For me, one of the more seductive qualities of the book is how the difference in the coarseness of the film’s grain varies from photo to photo and becomes another element in the design.
Few of the images in Jazz escape with their original Leica proportions intact. Elsken crops the images down to their purest form and mostly for the sake of the book’s design. In one particularly creative page, Elsken splices the faces of Coleman Hawkins and Roy Eldridge onto the same head to form a tenor sax and trumpet playing hybrid. The book ends with a sequence of Sarah Vaughn building to a final never-ending note.
The production work on this facsimile edition was done by Steidl. The original was printed in gravure and with this edition; Steidl has accomplished a beautiful faux-gravure printing that is ever so slightly silvery-blue in tone and deeply rich. The paper choice and tack sharp grain of Elsken’s photos complete the feeling of vintage gravure printing.
The texts by Jan Vrijman, Hugo Claus, Simon Carmiggelt, Friso Endt and Michiel de Ruyter along with a song list of recommended listening appear in their original Dutch. A separate thin-paged booklet of English translations sits in the endpapers.
The regular edition retails for only $30.00 which I find surprising inexpensive considering the fine quality. There is a special edition of 1000 copies also available for $100.00. This special edition is a facsimile made from an original copy of Jazz from Ed Van Der Elsken’s estate where he had written the names of all of the performers in silver ink directly onto the pages.
Amsterdamse Concertgebouw jazz foto’s ... & see also
Jazz by ...William Claxton, William Klein, Ed van der Elsken
zaterdag 29 december 2007
Naked women running through woods and meadows is an almost foolproof subject, and in his first solo show in this country, the Dutch photographer Paul Kooiker pursues it with single-minded zeal. Almost all of the women are photographed from behind, seemingly in search of -- or pursued by -- someone or something. It is hard to tell which, a puzzle that lends an air of poetic mystery to these images.
There are figures that could be takes from a pornographic movie, and others that suggest the innocence of, say, an anthropological film on tribal folkways. The most assertive (the works are all untitled) is one bathed in golden light in which a woman with a spectacular mane of Pre-Raphaelite hair, yet reminiscent of a Cézanne bather, steps like a wary animal through a field of tall grass; among the ghostliest is an image so deliberately out of focus that the body is almost indistinguishable from dappled areas of sun and shadow. But these seductive male visions are flawed by the suggestion in the show's sardonic title, ''Hunting and Fishing,'' of women as wild game. GRACE GLUECK
Includes work by Hans Aarsman, Jannes Linders, Wout Berger, Henze Boekhout, Edwin Zwakman, Theo Baart, Cary Markerink, Hans van der Meer, Marnix Goossens, Driessens/Verstappen, Hans Werlemann, Gert Jan Kocken, Bas Princen, Gábor Ösz, Gerco de Ruijter and Frank van der Salm.
Exhibition at the Kröller-Müller Museum from 7 June to 28 September 2008 in the context of the first Apeldoorn Garden and Landscape Triennial in 2008.Exhibition at the Pinakothek der Moderne in Munich, Germany, from 22 October 2008 to 19 January 2009.
donderdag 27 december 2007
3. The Park by Kohei Yoshiyuki (Hatje Cantz)
See also Martin Parr Year end .. time to look for the best photobooks of 2007
& The Best Photo Books of 2007 : From Afghanistan to the plains of North Dakota, affluence to homelessness, this year's books define photography's big world.
Hans Eijkelboom now has a hip, hit show at Aperture in New York and a clever photo book published in conjunction with it. Sudden exposure didn't happen overnight. Since 1995 he has self published 21 photo diaries and note books in a bewildering array of formats, edition sizes, quality, and content. They are fabulous. Read more ...
maandag 24 december 2007
People have been collecting photographs since the first shots were taken, but its growth in the last decade has been phenomenal. Yet photographs are complex objects involving a minefield of specialist and technical issues. Collecting Photography assembles all the knowledge and information the first-timer needs. It analyzes every aspect of the art, shows how to build a collection, discusses the photographic print, and offers advice on displaying and caring for the images. Written by photography historian and collector Gerry Badger, this highly readable guide is supplemented with advice from some of the world’s leading collectors, curators, and dealers.
About the AuthorCurator, critic, and collector Gerry Badger has written extensively for photography publications. The author of several photography monographs, he lives in London and teaches history of photography at Brighton University.
Content wise, the book is broken roughly into two halves. The first half of the book is a discussion on collecting photographs, how to build a collection, thoughts on value of photographs and a discussion of collecting trends and strategies. The discussion is pragmatic and the author shares good insights to anyone looking to become a collector no-matter what their budget. The reader will come away well informed about what photography collection is all about and what to look for in selecting a photograph. This section is illustrated throughout with numerous examples of collected photographs, most of which are from the 20th century. These cover many different genres with some of them being famous whilst others are more obscure. You can spend a long time just browsing at these photos and getting inspiration from them.
The second half of the book is text only and it contains a series of appendices including: a chronology of photographic history, a glossary of photographic terms and techniques (detailing the many numerous chemical processes that have been used in photographic history), a list of famous photographers and a list of places to buy photos internationally. All these act as valuable references.
This book would be appreciated by anyone who has an interest in photography as an art, a collectable, or just something beautiful to look at. Overall, I found this really enjoyable to read as well as educational and it has inspired me to buy the odd photograph on-line.
See for Martin Parr's and Gerry Badger's Five Favorite Photobooks ...
Collecting Photography Books by Mike Johnston
The "golden age of book collecting" took place over a period of several decades roughly a century ago. In those days, even the greatest books from the history of moveable type were still available to private buyers; book collecting was a fashionable and high-status activity, and vying for rare treasures was an accepted sport of the ultra-rich — and sometimes a downright obsession. It was in those days that famous multi-millionaires such as J. P. Morgan, Henry Huntington, and Henry Clay Folger put together the exquisite libraries that bear their names. In certain cases, even book dealers became famous celebrities. In the 1920s, when a Shakespeare first folio sold for a record $50,000, it was front-page news in The New York Times. The burgeoning collection of one gung-ho young blueblood book collector, Harry Widener, became the core of Harvard's Widener Library (one of the five or six greatest libraries in the world today) after the eponymous Harry perished aboard the Titanic.
Those days are gone now. Most of the great treasures (and many lesser ones) are locked away in museum collections. There are only two Gutenberg Bibles still in private hands, for instance, and neither may ever again come up for public sale; the Folger Library in Washington, D.C. alone hoards no fewer than eighty Shakespeare first folios, forever denying many private collectors the opportunity of ever owning one. So the super-rich have moved on to other forms of self-glorifying conspicuous consumption. With the greatest books grown so scarce, it's no longer possible to build a first-rate private library with anything less than a Gates-caliber fortune.
Moreover, book collecting has fallen out of fashion. The main reason is that there's just not all that much out there left to collect. Fortunately, however, there are just a couple of exceptions to this general rule. And one major exception, believe it or not, is photography books. Read more...
Six Things You Should Know About The Photo Market
Ours is a generation that has grown up experiencing world events, and personal histories, through photographs--which may explain why photography has been one of the most potent sectors of the art market for the past 25 years. Read more ...
Seven Tips for Beginning Collectors by Caroline Kinneberg
Starting an art collection can be intimidating for a number of reasons: financial constraints, lack of a formal art background, or the attitude beginning collectors can be greeted with at certain galleries, a standard of customer service W.M. Hunt of the (friendly) Hasted Hunt Gallery describes as: “You could be set on fire and no one would give you a glass of water.” Last week, Hunt moderated a panel at Aperture Foundation’s gallery about the first steps to creating a photography collection. In principle, the advice applies to other sorts of art as well, though Hunt told ARTINFO, "Photography seems like a smaller field of dealers and auction houses. As overwhelming as it is, it's easier to negotiate and, at least in the past, the financial consequences weren't so huge." At the panel, Hunt talked to beginning collector Gael Zafrany, who works at Charles Schwartz Ltd., preserving and creating museum and personal collections; longtime collector David Kronn; Modern Art Obsession blogger Michael Hoeh; and designer Todd Oldham about their experiences as fledgling collectors. ARTINFO gleaned the following pieces of advice on amassing pieces of art: Read more ...
See for 100 Important 20th-Century Photobooks ...
The academic study of the history of the photographic book makes for great photobooks as can be seen by The Book of 101 books, Fotografia Publica, From Fair to Fine, and Photobook: A History, volume I and volume II. Alessandro Bertolotti's collection of photography books, Books of Nudes is another title to add to this list. Bertolotti has been collecting books on the nude for over 30 years. This amazing anthology of over 400 reproductions includes books by Germaine Krull, Duane Michals, Robert Mapplethorpe, Victor Skrebneski, Pierre Molinier, Kohei Yoshiyuki, Eikoh Hosoe, Bill Brandt, Martin Munkacsi and many others from throughout the world. Each book is presented with its original cover and a selection of photographs laid out as double-page spreads. More copies are arriving this week.
In addition to being a photo curator and critic, Beaumont Newhall was also a "foodie." He wrote an article for the Brighton-Pittsford Post while working at The George Eastman House in Rochester from 1956 to 1969. This upcoming title by Radius Books, Beaumont's Kitchen features articles and recipes from the column along with photos from the "Newhall Circle" including Ansel Adams, Edward Weston and Henri Cartier-Bresson. Other upcoming titles found below along with expected dates are by Lee Friedlander, Malick Sidibe, Bill Owens, and William Christenberry.
vrijdag 21 december 2007
Kleinste koffietafelboek van Nederland
Corus photograph by Jules Stoop
Het landschap in Nederland is gepland. Alles heeft een bestemming en is steeds opnieuw in cultuur gebracht, ingedeeld, herverkaveld, bestemd en bevochten. In het groene laagland zijn de mens en zijn bedrijvigheid met het landschap één geworden. Zonder pompen geen polder, zonder koeien geen land. 'Het kleinste koffietafelboek van Nederland' brengt werk en visies van vooraanstaande Nederlandse fotografen onder andere Morad Bouchakour, Patricia Steur, Marcus Köppen, Cornelie Tollens en Jaap Vliegenthart over het Nederlands landschap samen in een publicatie op postcardformaat. Het boekje ligt vanaf 17 december in de Boomerang-rekken en is ook on-line door te bladeren op www.coolpolitics.nl .
'Het kleinste koffietafelboek van Nederland' is de tweede uit een reeks publicaties die voorlopig elk kwartaal verschijnen. De eerste verscheen op 22 oktober 2007 onder de titel 'De kleinste reisgids van Europa'. Elke boekje draait om één thema, dat bepalend is voor zowel inhoud als vormgeving. Het wordt verspreid via de rekken van Boomerang en heeft een oplage van 100.000 exemplaren.
'Het kleinste koffietafelboek van Nederland' wordt gezamenlijk uitgegeven door Coolpolitics en Boomerang.
Stichting Coolpolitics NederlandCoolpolitics biedt een podium voor maatschappelijke betrokkenheid, kennis en zingeving. De activiteiten lopen uiteen van afterparty's na verkiezingen tot tentoonstellingen, tv-programma's en debatten op festivals als Lowlands.
See also for the Photography of Carel Blazer, Paul Guermonprez, Nico de Haas, Karel Kleijn, E. van Moerkerken and others : Schoonheid van ons land
donderdag 20 december 2007
He lived with fellow photographer Ata Kandó (b. 1913 Budapest, Hungary) and her three children amongst the 'ruffians' and bohemians of Paris from 1950 to 1954. Ata was a principled documentarian whose pictures taken in the forests of the Amazon among the Piraoa and Yekuana tribes are her best known, but her more poetic leanings, exemplified in her later Droom in het Woud (Dream in the Wood 1957) must also have been an influence on van der Elsken. Much of his work subjectively documented his own energetic and eccentric life experience, presaging the work of Larry Clark, Nan Goldin or Wolfgang Tillmans. His adopted family and their lives became the subjects of his photographs along with the people he met including, during this Paris period, Edward Steichen who used many of the photographer's images in a survey of Postwar European Photography and in "The Family of Man". Another encounter was with Vali Myers who became the haunting kohl-eyed heroine of "Love on the left bank" (Een liefdesgeschiedenis in Saint-germain-des-Pres) published in 1956, the first of some twenty publications. Twenty years later she appears in his film Death in the Port Jackson Hotel (1972, 36 min. 16 mm colour).
Moving back to Amsterdam in 1954 he records members of the Dutch avant garde COBRA, including Karel Appel whom he later filmed (Karel Appel, componist korte versie, 1961, 4 min. 16 mm black & white). He then travelled extensively, to Bagara 1957 (now in Democratic Republic of Congo), and to Tokyo and Hong Kong in 1959 to 1960, with Gerda van der Veen, his second wife (also a photographer). Shortly after he records on film the birth of their second child Daan in the old-fashioned working-class Nieuwmarkt in Amsterdam (Welkom in het leven, lieve kleine, 1963, 36 min. 16 mm black & white).
His imagery provides quotidian, intimate and autobiographic perspectives on the European zeitgeist between the Second World War and the seventies in the realms of art, music (particularly jazz), and cafe culture. His last film was Bye (1990, 1 hour 48 min, video, 16 mm film, colour and black & white) a characteristic response to his terminal prostate cancer.
woensdag 19 december 2007
Vollmer, along with Astrid Kirscherr and Klaus Voorman befriended the Beatles in Hamburg during the bands initial visit in August, 1960, but it was amidst the three-month stint at the Top Ten Club in March, 1961 when Vollmer approached the band about the possibility of photographing them. The images captured by Vollmer’s lens during a relaxed afternoon photo session sans audience at Hamburg’s Top Ten Club are among this collection of ten 8"x10" black and white photographs procured by our consignor at the very first Beatlefest in 1974 from the photographer himself, Jurgen Vollmer.
As a result of Vollmer’s appearance at that first Beatlefest in New York City, John Lennon’s assistant (and short-term love interest), May Pang, was dispatched to procure a set of the photos. Shortly thereafter, Vollmer and Lennon rekindled their friendship resulting in the famous doorway photograph finding its way onto the cover of John Lennon’s “Rock N Roll” album. MT.
Jürgen Vollmer, in 1941 in Hamburg geboren, was in de woorden van John Lennon ‘de eerste fotograaf die de schoonheid en de geest van The Beatles vastlegde’. De beroemdste foto van The Beatles in hun Hamburgse tijd, met John met leren jasje en wit T-shirt leunend in een deuropening, gebruikte Lennon voor de hoes van zijn solo-album Rock 'n Roll uit 1975. Net als Klaus Voormann en diens vriendin Astrid Kirchherr behoorde Vollmer tot de groep jongeren die wat neerbuigend de Exi’s (nozems) werden genoemd. In 1961 verhuisde Vollmer naar Parijs, waar hij assistant werd van de beroemde fotograaf en filmmaker William Klein en veel op straat fotografeerde. Bij een van die gelegenheden, in september ’61, kwam hij toevallig Paul McCartney en John Lennon tegen. Die laatste herinnerde zich: ‘Jürgen droeg een broek met wijde pijpen, maar die vonden we voor Liverpool te mietig. Hij had ook een platte, sluike haarstijl met een pony aan de voorkant die we nogal leuk vonden. We gingen naar zijn kamer en daar knipte – hakte zou een beter woord zijn – hij ons haar in dezelfde stijl.’ Het Beatlekapsel was geboren en op de Parijse vlooienmarkt zochten John en Paul een nieuwe outfit bij elkaar. ‘Ze zagen er niet uit toen ze uit Parijs terugkwamen,’ volgens Ringo. Jürgen Vollmer bleef in de jaren zestig in Parijs. Hij maakte er onder meer een reeks foto’s van de danser Rudolf Nureyev toen deze het ballet Le Jeune Home et la Mort instudeerde. Aan het einde van de jaren zestig werkte hij als setfotograaf bij Europese filmproducties, o.a. van regisseur Alain Resnais, maar toen hij in 1971 voor een opdracht in New York was, werd hij verliefd op de stad en bleef in de VS. De eerstvolgende decennia werkte hij daar voor de Amerikaanse filmindustrie, als setfotograaf bij films van onder anderen Roman Polanski, Francis Ford Coppola en Barry Levinson. Hij fotografeerde talloze sterren, van Madonna tot Dirk Bogarde, van Jeanne Moreau tot Nastassja Kinski, en van Arnold Schwarzenegger tot William Burroughs. Enkele jaren geleden verscheen van een overzichtsboek van Vollmers werk, From Hamburg to Hollywood, met een voorwoord van Sir Paul McCartney.
Geboren in 1947 te Rangoon, Birma. Leeft en werkt in Londen.
Chris Steele-Perkins is de zoon van een Britse militair en een Birmaanse moeder. In 1949 verlieten zijn ouders Rangoon om zich in Londen te vestigen. Chris Steele-Perkins behaalt een diploma psychologie met eervolle vermelding aan de Universiteit van Newcastle upon Tyne waar hij van 1967 tot 1970 studeerde.
In 1971 begint hij in Londen als onafhankelijke fotograaf en specialiseert hij zich in het theater. Zijn eerste project in het buitenland dateert van 1973: verschillende humanitaire organisaties geven hem een opdracht om een reportage te maken over de toestand in Bangladesh.
In 1975 begint hij met EXIT te werken. Dit is een groep documentairemakers die zich toeleggen op het bestuderen van sociale problemen in Britse steden. Zeven jaar later wordt een deel van het werk dat hij met EXIT uitvoert, gepubliceerd onder de titel Survival Programmes.
In 1976 vervoegt Chris Steele-Perkins het agentschap Viva in Parijs. Gedurende een korte tijd werkt hij samen met de fotograaf Mark Edwards en toont hij interesse in een meer conceptuele fotografie. Met Film Ends tonen beide kunstenaars hoe fotografen gebruik maken van uiteinden van films die vaak enkel gebruikt worden voor toevallige opnames om de filmrol volledig op te gebruiken en deze zo vlug mogelijk te kunnen ontwikkelen.
Het eerste boek van Chris Steele-Perkins, The Teds, wordt in 1979 gepubliceerd. Het wordt gewijd aan de laatste generatie van de Teddy Boys, soms nog jonge mensen wier stijl in de jaren 1950 aan het licht kwam. In hetzelfde jaar vervoegt hij Magnum Photos en wordt hij in 1982 lid. Daarna gaat zijn werk voornamelijk over de ontwikkelingslanden. Daar verslaat hij verschillende conflicten in het Midden-Oosten, Afrika en Centraal-Amerika. Zijn reportages kennen een groot succes bij het publiek en hij wint er verschillende prijzen mee waaronder de prestigieuze Prijs Oskar Barnack in 1988 en de Gouden Medaille van de prijs Robert Capa in 1989.
In 1989 beschrijft zijn boek met kleurfoto’s The Pleasure Principle in een zeer persoonlijke stijl de hedonistische levenswijze en de idealistische tendenzen in de Britse maatschappij. Vervolgens start hij met een ambitieus project over Afghanistan, dat in 2000 aanleiding gat tot de publicatie van een boek met als titel Afghanistan. Chris Steele-Perkins verbleef lang in Japan en hij legde zich er op toe diverse aspecten van het land in beeld te brengen: van scènes uit het dagelijkse leven in de stad tot de indrukwekkendste landschappen. In 2001 heeft hij Mount Fuji gepubliceerd waarin hij het beroemdste emblematische beeld van het land herbezoekt. Zijn laatste werk, Echoes, dat in 2004 werd gedrukt, betekent een beslissend moment t.o.v. zijn vroegere werken. Echoes verzamelt foto’s die hij van zijn familie nam tijdens het jaar 2001. Het is een zeer intiem en sentimenteel fotografisch corpus. © Chris Steele-Perkins / Magnum Photos
Prijzen (selectie) 1988 Prijs Oskar Barnack, World Press ; Prijs Tom Hopkinson 1989 Gouden Medaille Robert Capa, Centre International de la Photographie 1994 Prijs La Nación Premier Photojournalism 1999 Beurs van de Sasakawa Foundation 2000 Prijs World Press, Categorie Daily Life
Tentoonstellingen (selectie) 1999 Robert Capa Gold Medal Winners Exhibition, gemeenschappelijke rondreizende tentoonstelling in Japan 1999 Nomansland, Photo Gallery International, Tokyo, Japan 1999-2000 Afghanistan, Side Gallery, Newcastle upon Tyne, Groot-Britannië ; Fotogallery, Cardiff, Groot-Brittannië ; Visa pour l’Image, Perpignan, France 2002-2003 Mount Fuji, Grandship, Shizuoka, Japan ; Midlands Arts Centre, Birmingham, Groot-Brittannië ; Impressions Gallery, York, Groot-Brittannië ; Darlington Arts Centre, Groot-Brittannië ; Pierce Hall Art Gallery, Halifax, Groot-Brittannië ; National Theatre, Londen, Groot-Brittannië 2003-2004 The Teds, Stephen Daiter Gallery, Chicago, Verenigde Staten ; Noorderlicht Festival, Groningen, Nederland ; 292 Gallery, New York, Verenigde Staten
Publicaties (selectie) The Teds. Travelling Light, Londen, 1979 ; Dewi Lewis, Stockport, 2003 Survival Programmes : In Britain’s Inner Cities. Open University Press, Maidenhead, 1982 The Pleasure Principle. Cornerhouse, Manchester, 1989 Afghanistan. Marvel, New york, 2000 ; Westzone, Londen, 2001 ; Shobunsha, Tokyo, 2001 Fuji. Umbrage, New york, 2002 Echoes. Trolley, Londen, 2004
vrijdag 14 december 2007
Before Kadir van Lohuizen became a photographer he was a sailor and started a shelter for homeless and drug addicts in Holland. He was also an activist in the Dutch squatter movement. He started to work as a professional freelance photojournalist in 1988 covering the Intifadah.In the years after he worked in many conflict areas in Africa, such as Angola, Sierra Leone, Mozambique, Liberia and DR Congo. From 1990–1994 he covered the transition in South Africa from apartheid to democracy.After the collapse of the Soviet Union Kadir covered social issues in different corners of the former empire. He also went to North Korea and Mongolia. In 1997 he embarked on a big project to travel the seven rivers of the world, from source to mouth, covering the daily life along these lifelines.In 2004 he went back to Angola, Sierra Leone and Democratic Republic of Congo to portray the diamond industry, following the diamonds from the mines to the consumer markets in the western world. The exhibition travels not only in Europe and the USA, but also in the mining areas of Congo, Angola and Sierra Leone.In 2004 he also initiated a photo project together with Stanley Greene and six other photographers on the violence against women in the world. In 2006 he co-founded the magazine The Issue with Stanley Greene. Recently Kadir has covered the conflict in Darfur, Chad and in Lebanon. Since hurricane Katrina happened he has made several trips to the USA to cover the aftermath and continues his work on the aftermath of Hurricane Katrina still today. In 2006 Kadir started a new project: a visual investigation on migration in the America’s. For this he travels from Terra del Fuego (Patagonia) to Northern Alaska.
In 1998 van Lohuizen won the most prestigious Dutch award in photojournalism ‘de Zilveren Camera’ for his story in Zaire on Rwandan refugees. For the same story he received the 2nd prize spot news stories at the World press. In 2000 (Sierra Leone) and 2005 (diamonds) he won the ‘Dick Scherpenzeel’ prize in Holland for best reporting on the developing world. In 2006 he won the prize for Investigative journalism in Holland and Belgium for his story on the diamond industry, for the same story he received a second prize, contemporary issues at the World Press Photo. In 2007 he won the “Kees Scherer' prize for the best photobook in Holland in the last two years. He also won a PDN annual award in the USA for his work in Chad.In 2000 and 2002 van Lohuizen was a jury member for World Press Photo. He has also taught several workshops for them.Van Lohuizen has published in numerous magazines and newspapers such as Vrij Nederland, de Volkskrant, NRC Handelsblad, Le Monde, Liberation, The Guardian, The Observer, Independent Sunday Review, New York Times magazine, Time magazine, Paris Match, Newsweek and GEO and has worked reguarly for Medicins sans Frontieres (MSF) since 1990.
Exhibitions were shown at
Canon Image Centre, AmsterdamMozambique (1992) Museum of Ethnology, Leiden, Mozambique (1993), City hall, Amsterdam, South Africa (1994), Amsterdam Historical Museum, Amsterdam, Moroccan family (1997), Photo festival Naarden, Naarden, Surinamese family (1997), Word Press Photo exhibition (1998 and 2006). Dutch Photo Institute, Rotterdam, Tibet (April 1999), India International Centre, New Delhi, www.tibet.chin.com (2000), Photo festival Naarden, Tibet (2001), Museum of Ethnology, Leiden (2002), the Nenets and the gas industry, St. Petersburg, war photography (2003), group exhibition, Photofestival Skopelos, rivers (2003), Institut Neerlandais, Les grands fleuves du monde (2003), Kunsthal Rotterdam, rivers (2003), L’Oeil sur Seyne, Les grands fleuves du monde (2004), FOAM, Amsterdam, Diamond matters (2005), Visa pour l’Image, Perpignan, Diamond matters (2005), Various locations DR Congo, Angola, Sierra Leone, Diamand matters (2005)., HOST gallery, London, Diamond matters (2006), Maison Robert Doisneau, Paris, Diamond Matters (2007).
Medecins sans Frontieres (MSF)Human Rights Watch
Museum of Contemporary Art, AmsterdamPrivate collectionsSBK foundation, Amsterdam
donderdag 13 december 2007
I’VE ALWAYS HAD A THING FOR SMALL BOOKS. Reading a book is an intimate and very tactile experience and a small book plays into that feeling. In general, however, art and photobooks are larger than your average book of literature, which makes reading them a different experience altogether.
Another attraction of mine is books in a set or series. The world of literature is full of brilliant series: the Everyman’s Library by Knopf and most Penguin’s Great Ideas series immediately come to mind.
It is therefore a distinct pleasure to come across photobooks that, in size at least, are akin to their literary cousins. Several running feet of my shelf space at home are dedicated to photobooks that are either a smaller trim size than average or quite thin, hovering around two or three signatures at most. And it is doubly thrilling to come across a publisher that is exploring the world of photography through a series of small books.
A handful of publishers are currently doing just that. Both Phaidon and Thames & Hudson—two of Europe’s most well known and well established art book houses—have, in recent years, tested the market with series of small, traditional biographical monographs on important historical and contemporary photographers. In America the most notable example is the exquisite One Picture Book series, by Nazraeli Press. Each of the books in these series is an engaging and considered object, with a small, coherent body of work forming the core.
What the small book format provides for a photographer is a chance to explore a limited body of work or a singular idea that falls outside the scope of their larger bodies of work. Or, in the curious case of Dutch photographer Paul Kooiker, it really lets you encapsulate an obsession. Seminar is the third book in an unnamed series from Kooiker published by Amsterdam-based Van Zoetendaal. The other two titles are Hunting and Fishing and Showground.
Each of the books perfectly reveals an idée fixe—Seminar is filled with cropped and grainy photographs of a woman’s feet clad in modest but sexy black, French court shoes with kitten heels and a bow and eyelet in the back. Every image has the appearance of being surreptitiously snapped by a seminarstalker, as it were—we catch glimpses of the woman taking notes and sitting in the audience in a folding metal chair. Kooiker has given every image in the book a pink overwash, which only serves to overemphasize the femininity of the work.
The effect is thoroughly engrossing (it also helps to be attracted to heels) and much like reading a short story. In this case, all three of Kooiker’s titles seem to embody the effect that Lewis Baltz has stated so clearly: “It might be more useful, if not necessarily true, to think of photography as a narrow, deep area between the novel and film.”
Seminar, thematisering van het voyeurisme
Fotografen en beeldend kunstenaars zijn uit de aard van hun professie kijkers. Zij zien beelden, denken in beelden en uiten zich in beelden. Wanneer zij hun medemens bezien vanuit hun persoonlijke interesse raken zij aan het fenomeen dat voyeurisme genoemd wordt. Paul Kooiker onderzoekt dit fenomeen.
Seminar, het meest recente uit een reeks publicaties van Kooiker bij uitgeverij Basalt/Van Zoetendaal Publishers, is een pure verbeelding van het verhaal van de jagende fotograaf en diens prooi, het in de regel onwetende model.
Paul Kooiker (Rotterdam 1964) werkt in Amsterdam als fotograaf/beeldend kunstenaar en is tevens docent aan de Rietveldacademie. In 1996 won hij de eerste prijs bij de Prix de Rome fotografiecompetitie.
Vorig jaar bezocht hij een bijeenkomst over Nederlandse fotografie in Seoul, de hoofdstad van Korea, waar galeriehouder en uitgever Willem van Zoetendaal een tentoonstelling presenteerde.De fotograaf zal weinig van de discussie hebben meegekregen, want hij heeft zich volledig geconcentreerd op een Koreaanse medewerkster en dan met name op haar bijzondere schoeisel.
Seminar bevat 30 opnamen van een Aziatische jongedame in een donkere jurk. Zij draagt een paar donkere pumps met een ronde neus, waarvan vooral de achterkant opvallend is. In de hiel van de schoen is een ronde opening opgenomen met daarboven een strikje.
Het boekje bestaat uit een reeks beelden waarin het model en vooral haar benen en schoenen vanuit verschillende beeldhoeken zijn gefotografeerd. Het gezicht blijft buiten beeld of is door het gekozen standpunt onherkenbaar. Deze werkwijze is karakteristiek voor het oeuvre van Kooiker, die in zijn fotografie speelt met de glorie en de tragiek van het verzamelen en het voyeurisme.
De uitgave sluit aan bij de wegrennende nimfen in zijn boek Hunting and Fishing (1999) en de verzameling beelden van modellen en studio in Showground (2005).De vormgeving is even sober en eigenzinnig als bij deze eerdere publicaties en past weer uitstekend bij de bedoelingen van de fotograaf.
maandag 10 december 2007
Geert van Kesteren
24 November 2007 to 10 February 2008
Commissioned by the Dutch Institute for Southern Africa and Kunsthal Rotterdam, Dutch photographer Geert van Kesteren traveled to Zambia in 2007 to make a journalistic road movie. Van Kesteren approached the Zambians closely, giving a clear impression of their daily lives, knowing both moments of exceptional bliss and of profound mourning. Together with the sound-recordings made by Van Kesteren the linked-up sequence of photographs shown at the Kunsthal provide us with an honest portrait of an energetic, yet worrisome Zambia.
By means of over eighty photographs Van Kesteren shows us Zambia as he encountered it on his journey. Through both pictures and sound-recordings the visitor is taken along to a country full of lust for life, joy and love, which still holds a strong belief in God and the world of the Spirits. From the photographs, highly and richly detailed as they are, the sounds of exuberantly clapping girls, of playing children and of praying churchgoers as well as the grief of a young woman are almost audible. Van Kesteren portrays not only the attractive, proud Zambia with its magic culture, breath-taking waterfalls and picturesque villages but also shows Zambia as we know it from the News: a country struggling with corruption, poverty and AIDS, as one in every three inhabitants is tested HIV-positive. His intense way of taking photographs enables the visitors to encounter both the absolute heights and the all-time lows of Zambian life.