vrijdag 31 december 2010

So mama don't take my Kodachrome away New York Paul Simon Steve McCurry Photography




Paul Simon - Kodachrome

When I think back
On all the crap I learned in high school
It's a wonder
I can think at all
And though my lack of edu---cation
Hasn't hurt me none
I can read the writing on the wall

Kodachrome
They give us those nice bright colors
They give us the greens of summers
Makes you think all the world's a sunny day, Oh yeah
I got a Nikon camera
I love to take a photograph
So mama don't take my Kodachrome away

If you took all the girls I knew
When I was single
And brought them all together for one night
I know they'd never match
my sweet imagination
everything looks WORSE in black and white

Kodachrome
They give us those nice bright colors
They give us the greens of summers
Makes you think all the world's a sunny day, Oh yeah
I got a Nikon camera
I love to take a photograph
So mama don't take my Kodachrome away

Mama don't take my Kodachrome away
Mama don't take my Kodachrome away
Mama don't take my Kodachrome away

Mama don't take my Kodachrome
Mama don't take my Kodachrome
Mama don't take my Kodachrome away

Mama don't take my Kodachrome
Leave your boy so far from home
Mama don't take my Kodachrome away
Mama don't take my Kodachrome

Mama don't take my Kodachrome away



See also The Dawn of Kodachrome ...







woensdag 29 december 2010

Top Writers select their photographs of the Decade Photojournalism Photography

Geoff Dyer: The image of blindfolded Iraqis being led by a marine recalls paintings by Sargent and Brueghel


From the Guardian : "Blood, smoke, rubble, floodwater, guns, bodies, riot shields, flame, skyscrapers, more rubble and more floodwater and more blood – is that what the decade was about?" asks Philip Pullman in his contribution to our Review cover story this week. We invited ten writers – Pullman, Simon Schama, Mary Beard, Germaine Greer, Will Self, Blake Morrison, Hilary Mantel, Jeremy Paxman, Pankaj Mishra and Geoff Dyer – to choose an image from two covetable new collections of the most powerful photojournalism from the last 10 years (Decade, edited by Eamonn McCabe and published by Phaidon, and the Guardian's Eyewitness Decade, edited by Roger Tooth)... Read more ...

Pankaj Mishra: These Chinese women belong to the hundreds of millions in their country who may never stand up


Jeremy Paxman: The image of the toppling of Saddam Hussein's statue reminds us that not everything we saw in Iraq was what it appeared


Hilary Mantel: I think that in 50 years, this picture of a monkey at Huntingdon Life Sciences will look like pornography


Philip Pullman: It is a privilege to be alive at a time when Daniel Barenboim and his orchestra are doing the impossible


Blake Morrison: The poignant image of Blair and Bush at Camp David had all the warning signs. If only we'd seen them


Will Self: These burning cows are synonymous with our Promethean hubris and our Neronic fiddling about


Germaine Greer: To look at this picture is to feel a sudden grief. Where is Rachel Whiteread'sMonument now?


Mary Beard: The Catholic church continues to outdo its rivals with its approach to ritual, as shown by these windswept cardinals


Simon Schama: Occasionally, photojournalism rises to the level of great art, as in this image of a Kenyan rinsing soot from his face



dinsdag 28 december 2010

Labour / Arbeit the Collection and Archive of the Fotomuseum Winterthur Company & Industrial Photography




Hans Hansen
Zerlegter VW Golf, 1988
Im Auftrag der Volkswagen AG, Art Director Dietmar Meyer
C-Print
64,8 x 99,7 cm


Set 7 from the Collection and Archive of the Fotomuseum Winterthur
We each relate to work in our own personal way. We may be employed or self employed; we may have just entered the workforce and have specific goals or we may be enjoying well-earned retirement.

Working to earn a living is a salient feature of bourgeois society. It defines social status and belonging, while unemployment and not working bears the menace of being ostracized. From its earliest beginnings, photography has captured how, where and under what conditions people work – not only by in-house photographers, adhering to the perspective and specifications of the management but also by freelance photographers with an open-ended, unfiltered approach to places of production and trade. In both content and motif, the exhibition “Arbeit/Labour” traces the transition from physical labour to automation and computer-aided work environments in conjunction with migratory movement across continents and through decades. In an exchange between applied and art photography, increasingly invisible work is shown to act as a sediment under various social circumstances.

The exhibition includes a selection of pictures from company archives (Haldengut, Maag, Volkart and Von Roll) on deposit at the Fotomuseum Winterthur as well as works by Richard Avedon, Joachim Brohm, Raphael Dallaporta/Ondine Millot, Joakim Eskildsen, Nicolas Faure, Peter Granser, Guido Guidi, Hans Hansen, Volker Heinze, Boris Mikhailov, Sebastião Salgado, Bruno Serralongue, Jules Spinatsch, Henrik Spohler, Joel Sternfeld, Beat Streuli, Shomei Tomatsu, Jakob Tuggener, Ad van Denderen, WassinkLundgren, Herbert Weber, Garry Winogrand and others.

Curator: Thomas Seelig. The brochure “Set 7” will be published in conjunction with the exhibition.




Open publication - Free publishing - More photography

Domestic Slavery is an interestingly designed magazine/poster collection which, with a bit of wallpaper paste, doubles as a set of exhibition prints. In Domestic Slavery Raphael Dallaporta and Ondine Millot address an often-ignored social wrong that is related to issues of human trafficking: modern slavery. Dallaporta’s cold and stark images of ordinary-looking buildings in and around Paris, are combined with Millot’s texts to become chilling portraits of hidden agony. This publication is a collaboration between Raphael Dallaporta, Kummer & Herrman and FOTODOK.


Anonym
Baumwollpflückerinnen in Berar, Indien, ca. 1910
Silbergelatine-Abzug
19 x 23.4 cm


Swissair Photo + Vermessungen AG
Maag-Areal & Hardbrücke, 1977
RC-Abzug
20.2 x 25.4 cm


Boris Mikhailov
Aus: At Dusk (Die Dämmerung), 1993
Silbergelatine-Abzug
ca. 12.5 x 29.5 cm


Tina Hage
Detail aus Universal Pattern II(Universelles Muster), 2008
Inkjet-Print 
102 x 124 cm


maandag 27 december 2010

the Best (Dutch) Photography of the Year 2010 by Eddie Marsman & Rosan Hollak

Kunst van het jaar 2010

artikel artikel | Maandag 27-12-2010 | Sectie: Kunst | Pagina: 11
De beste fotografie  Eddie Marsman, Rosan Hollak.
 Eddie Marsman Fotografie 
Anna Geene: Perceel 235 (HEF Publishers). Hartverwarmend afstudeerproject: fotografisch overzicht van het planten- en dierenleven onder//in/boven de grond van een Rotterdams volkstuintje, verrassend 'encyclopedisch' gerangschikt. 
Rob Hornstra (foto) Arnold van Bruggen (tekst): Empty Land: Promised Land Forbidden Land (Borotov/The Sochiproject, Utrecht). Kloeke tussenbalans van gedurfd documentaire project over de 'verbouwing' van Sochi, Rusland, waar in 2014 de Olympische Winterspelen worden gehouden. Weergaloos. 



Paul Bogaers Upset Down (99 Uitg, Haarlem). Caleidoscopisch doolhof bestaande uit beeldcombinaties die zo zijn samengesteld dat ze ook 'op de kop' bekeken kunnen (moeten!) worden. 
Andrea Stultiens: The Kaddu Wasswa Archive (Post Editions, Rotterdam). Visuele biografie van de nu 78-jarige Oegandese leraar, aan de hand van zijn (door Stultiens gefotografeerde) persoonlijke documenten. 



Foto en Copyright by G.P. Fieret, Volume 2 (Fotomuseum Den Haag/Uitg Voetnoot, Antwerpen). Zelfportretten, stadstaferelen en veel uitdagende dames van de Haagse kunstenaar-wildeman-dichter Fieret. Een collector's item. 





Rosan Hollak Fotografie 
Roger Ballen: Overzichtsexpositie(Paleis voor Schone Kunsten , Brussel). Gekte loert bij Ballen altijd om de hoek: of het nu gaat om de werkelijkheid of zijn eigen fantasie. Fascinerend. 



Nan Goldin: Poste Restante (Nederlands Fotomuseum, Rotterdam). Na 13 jaar was werk van Nan Goldin weer in Nederland. De koningin van de snap-shot fotografie is nog steeds onverslaanbaar. 
Jim Goldberg: Open See (Foam, Amsterdam). Goldberg toont polaroids van economische vluchtelingen waarop geportretteerden hun eigen verhaal schrijven. Effectief en ontroerend. 
Marco van Duyvendijk: Eastward Bound (Fotomuseum Den Haag). Met kleurige portretten legt Van Duyvendijk nadruk op folklore en tekens van de modernisering. Mooi en subtiel. 
Nicolas Nixon: The Brown Sisters ( Nederlands Fotomuseum). In 1975 fotografeerde Nixon voor het eerst zijn vrouw en haar zussen, daarna ieder jaar. Prachtige serie over vergankelijkheid. 
Foto-onderschrift: True Blood Breaking Bad Anna Green: Perceel 235 Roger Ballen, Dresie & Casie, twins, West-Transvaal (1993). Charlie Parr
Op dit artikel rust auteursrecht van NRC Handelsblad BV, respectievelijk van de oorspronkelijke auteur.



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donderdag 23 december 2010

the First Cover 23 nov 1936 Margaret Bourke-White for Life Magazine Photojournalism Photography



Margaret Bourke-White would have the honor of being credited with the first cover of LIFE Magazine in 1936. The cover photo of the Fort Peck Dam was accompanied by a Bourke-White photo-essay inside this same issue covering the workers who were building the dam in New Deal, Montana. Bourke-White teamed up with Tobacco Road and God's Little Acre author Erskine Caldwell to produce "You Have Seen Their Faces", a book filled with photos of people suffering through life during the Depression.