Alice Arisu: Whose Culture is This?

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Alice Arisu is a 24 year old artist based in Milan. Her work leans on the powerful ability to communicate with the psychological methods advertising – she is studying Theories and Methods for Communication at the University of Milan – so Arisu uses slogans, in effective, passive protest, to articulate our societal shortcomings – namely the identity of women in the multi-fragmented, exploitive landscape of mainstream media.

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I was interested in Arisu's latest series, entitled Who Culture Is This?, which is so apropo to our current zeitgeist, so I asked her what her thoughts were behind this project. Here is what she had to say:

In my previous project, “Sin Cara” (“Faceless” in Spanish, which was created for an exhibition in Madrid), the main idea was to suggest how universal female condition could be by hiding or erasing their faces: women may lose their identity for many different, oppressive influences. The "Whose Culture is This?" series shares the same sentiment, but now I am using black and white photography which I used to love at the very beginning of my “ career”, with its peculiar light and an attempt to lack in perspective. I fuse it with the use of written word, which is inspired by advertisements, but there's no slogan, just sharp sentences and questions, which I hope will lead to reflection as unique way of release.

www.alicearisu.com

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Chasing Shadows by Santu Mofokeng

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They are strewn like litter across the floor in my office. Others are kept in cabinets, and a few are in frames. Whatever lies, deceptions or promises brought them into being, I wonder. I am referring to the products of my gaze, refracted and reflecting, somewhat muted, not unlike light dancing on the surface of the dirty puddle that is my memory: Images of people in moments of contemplation, performance, confrontation and perhaps celebration. My exploration and participation in the fictions we call relationship and community. And of environments, real and imagined. Insignificant experiences, selected and isolated from tedium, moments reduced to mere appearances, simply as surfaces reflecting light, arrested and stored in the long memory of film. A brooding corpus of so many episodes remembered and forgotten.

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This anthology of photographs was initially conceived as a metaphorical biography, though I now have reservations about that conception. The bias for the dark, the bizarre and the allegorical in the work is my entire fault. For, like Ezekiel in the Bible, I embrace the apocalypse. I can easily blame my mother and father for my obsession with meaning and purpose, and the fact that I find beauty without truth unsatisfactory. Except, I suspect the problem lies elsewhere. It is located somewhere between 1956 and now.

These photographs explore a part of me which I have so far neglected in my work, – my spirituality. There are several reasons why it was ignored: ambivalence, embarrassment, fear of the political and other implications or perhaps the deflection of my gaze. This exhibit is an attempt to come to terms with my schizophrenic existence. The expression I take as a title for this exhibition, "Chasing Shadows" has quixotic connotations in English, but in African languages its meaning is antithetical.

"...while I feel reluctant to partake

in this gossamer world, 

I can identify with it."

"Shadow" does not carry the same image or meaning as seriti or is'thunzi. The word in Sotho and Zulu is difficult to pin down to any single meaning. In everyday use seriti or is'thunzi can mean anything from aura, presence, dignity, confidence, power, spirit, essence, status and or wellbeing. The words in the vernacular also imply the experience of being loved or feared. One's seriti / is'thunzi can be positive or negative and can exert a powerful influence. Having a good or bad seriti / is'thunzi depends on the caprice of enemies, witches, relatives both dead and living, friends or associations, and on circumstance or time. Having and defending one's own seriti / is'thunzi from evil forces or attacking the seriti / is'thunzi of one's perceived enemies preoccupies and torments many African people. Those Africans who disdain these notions are at least aware of seriti/ is'thunzi. Especially the elite, when they engage in conversation with white South Africans, they often deny this black African consciousness.

I grew up on the threshing floor of faith. A faith that is both ritual and spiritual – a bizarre cocktail of beliefs that completely embraces pagan rituals as well as Christian beliefs. And while I feel reluctant to partake in this gossamer world, I can identify with it. It does not strike me as 'peculiar'. Yet, I still try to avoid being trapped in its hypnotic embrace, which seems to mock my carefully cultivated indifference and self confidence. I feel ambivalent about my ambivalence, embarrassed at my embarrassment.

This project has steered me to places where reality blended in freely with unreality, where my knowledge of the photographic medium was tested to the limit. While the images record rituals, fetishes and settings, I am not certain that I captured on film the essence of the consciousness I saw displayed. Perhaps, I was looking for something that refuses to be photographed. I was only chasing shadows, perhaps.

Text by Santu Mofokeng, 1997

Santu Mofokeng, Shadow Hunter is on view now at the Jeu de Paume in Paris - The exhibition and the accompanying book bring together a unique selection of the photographic essays made by Santu Mofokeng over the last thirty years. Well-known from his projects Black Photo Album/Look at me: 1890-1900s, Township Billboards: Beauty, sex and cell phones, Trauma Landscapes and Chasing Shadows, the South African artist took the opportunity of the invitation for this show and the production of his first comprehensive monograph, to delve deep into his artistic archive. "Santu Mofokeng, Chasing Shadows – 30 years of photographic essays" presents a selection of more than 200 images (photographs and a slideshow), texts and documents. The photographic essays he composed over the years, some of which are a life-long work in progress, range from the Soweto of his youth, from his investigations of life on the farms, the everyday life of the township and in particular, representations of the self and family histories of black South Africans, to images from the artist’s ongoing exploration of religious rituals and of typologies of landscapes, including his most current project Radiant Landscapes, commissioned specially for this retrospective.

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Not So Sad Moon: The Photography of Luna Tristá

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Cuban photographer Luna Tristá's photography is a pastiche of black and white popshots of cut up glamor and a nod to a distant, more decadent age.  Her images are sexy as hell without being put on, and the people captured have a seemingly fearless honesty.  But what I like most about Tristá's photographs is the tinge of sadness with romanticism–almost like a visual excerpt from one of Jean Genet's diaries or the aura of the calm background characters of a Toulouse Lautrec painting. "I don't search perfection but the untiring conquest of their monsters. The obscurity, at the same time, is the beauty that seduces" Luna Tristá. "

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Car Fetish

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Superflex, Burning Car, 2008

When I think of car fetish I immediately think of David Cronenberg's 1996 film Crash. Its the erotic tale of a group of sexual outsiders who get their rocks off in car wrecks. One scene in particular, where Rosanna Arquette's character, who wears fish-nets and leg braces–obviously the result of some previous dalliance gone awry, and Holly Hunter's character get it on in the back of an old car.  Theres a word for this kind of fetish–its called paraphilia, or an attraction to objects.

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Andrew Bush, Man (possibly someone in character) traveling northwest at 60 mph on U.S.

The automobile is the foremost cultural touchstone of the 20th century, reflecting the social and cultural development of the western world and beyond. Both technical device and instrument of locomotion, it offers the most highly developed and widespread interface for human-machine interaction – while also functioning as a carrier of meaning, an individualized living room, a medium for escapes great and small, and a means of distancing oneself from others and of creating a personal profile. The attraction of speed and the new feeling of time and space ushered in by the advent of the automobile had a formative influence on (urban) perception and the rhythm of modern life in the early years of the 20th century. The view through the windshield still drives our outlook on life today, as well as coloring the cinematic perspective on reality. An exhibition "Car Fetish," at the Museum Tinguely in Basel, demonstrates the wide range of art influenced by the automobile. Around 160 artworks are featured by more than 80 artists, among them Giacomo Balla, Robert Frank, Jean Tinguely, Andy Warhol, Gerhard Richter, Chris Burden, Damián Ortega, Richard Prince or Superflex.

On view until October 9, 2011 at the Museum Tinguely in Basel, Switzerland www.tinguely.ch

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Arnold Odermatt, Wolfenschiessen, 1964

Irving Penn: Radical Beauty

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Fraenkel Gallery in San Francisco presents RADICAL BEAUTY 1946 - 2007, an exhibition of photographs by Irving Penn. On view from June 30 to August 20, the works span six decades of the artist's influential career. The nearly thirty photographs on view explore Penn's radical and long-standing investigation into what constitutes beauty, an aspect of his career that has received only passing attention. These works reflect the artist's deep appreciation for the diversity of human physiognomy, and challenge a media-driven and image-saturated society that has narrowed the very idea of beauty.

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Known for depicting his subjects with a rare combination of precision and compositional elegance, Penn's work contrasts elements of the grotesque and the sublime. Throughout his early career, as a photographer at Vogue, and then later in his personal work, he consistently questioned and reinvented the parameters of physical beauty. His early nudes, from the late 1940s, were not exhibited until over three decades later.  Alexandra Beller D, Nude 132, and Nude 18 are studies of an exuberance of flesh.

His subjects-from the highlands of Papua New Guinea to the high-society of the fashion world-are presented as distinct and particular. His portraiture is known for revealing the essentials of his sitter, devoid of superfluousness. In Five Okapa Warriors, New Guinea, the men face the camera frontally, their pierced nasal septums and bush arrows as rigid as their gaze. Several images in the exhibition obscure faces- Canvas Head With Hardware, Design by Jun Takahashi and Football Face, among others, alluding to the masks of fashion and persona.

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Irving Penn, 1917-2009, was one of the most influential photographers of the twentieth century. Having studied art under Alexey Brodovitch, Penn began a decades-long career with Vogue where he became known for his groundbreaking fashion and celebrity portraiture. His sitters included many of the luminaries of the day, from Martha Graham and Marcel Duchamp, to Picasso, O’Keeffe and Tennessee Williams. He was equally renowned for his still life work. Flowers, food and all manner of detritus; cigarette butts, discarded paper cups, and chewing gum found their way into his studio. Later in his career he traveled the globe photographing indigenous people in a simulated, portable studio, producing memorable images from Africa, South America, and Papua New Guinea. Numerous books on his work have appeared, such as A Notebook at Random, Worlds in a Small Room, Irving Penn Portraits, and The Small Trades. His work is included in most major museum collections.

www.fraenkelegallery.com

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Model as Muse: The Kate Moss Portfolio

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Glen Luchford, Kate Moss, 1994

Ephemeral, unique, stunning, imperfect, a blank canvas. These are all words that have been used to describe Kate Moss, the original “waif” who helped effect a watershed change in fashion in the early 90’s and continues to inspire a slew of diverse, evocative visions from some of the most highly-acclaimed photographers in the world. Moss’s is arguably one of the most controversial, intriguing, mesmerizing and instantly recognizable faces of our era. Simultaneously plain and gorgeous, Moss is exalted by photographers for the striking presence and personality she brings to the photographic medium, as well as her unmatched ability to morph into anything—femme fatale, elegant society woman, innocent child, tomboy, seductress, goddess.

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Bruce Weber, Kate Moss, 1997

Model as Muse: The Kate Moss Portfolio opened this past Thursday, May 13th at Danziger Projects’ new location in Chelsea. The intimate, two-room gallery displays the work of 11 of the world’s leading fashion photographers, including Annie Leibovitz, Glen Luchford, Terry Richardson, Mario Sorrenti, Mario Testino, Juergen Teller, Bruce Weber, Inez Van Lamsweerde, Vinoodh Matadin and Herb Ritts, each of whom captured the unusual, captivating British icon at different points throughout her illustrious career. The portfolio includes never-before-seen shots of Moss at the beginning of her career in 1988, Chuck Close’s faceless nude daguerrotype diptych, one of notorious team Mert Alas and Marcus Piggott’s famed glamour shots from the 2008 issue of Interview magazine showcasing its new layout, several photographs of Moss at the age of eighteen on her first trip to New York, and countless other breathtaking works.

“I think that Kate Moss is not so much a model or a supermodel, but an artist-model. There is a quality that she has that inspires photographers to do their best and create something that is both the epitome of their style and also takes them as far into [the place] where art meets fashion and where fashion meets art,” said James Danziger, owner of the gallery and curator of the exhibit.

Model as Muse:The Kate Moss Portfolio is now on display at Danziger Projects, 527 West 23rd St, New York. www.danzigerprojects.com

Text by Annabel Graham for Pas Un Autre

(Annabel Graham is a photographer and writer based in NYC, she has worked for Interview Magazine as well as the Paris Review, and she is a regular contributor to Pas Un Autre, visit her blog Can I Borrow Your Fire)

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Glen Lemuel, Kate Moss, 1988

Guy Bourdin: Oedipus Rex & High Heels

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Guy Bourdin - Pentax Calender - 1980

You wouldn't need Freud to tell Guy Bourdin that his unhealthy fetish for redheaded women stems from his mother who abandoned him when he was only a year old. Twisted and contorted like compromised balloon dogs and subordinate porcelain dolls, Bourdin's redheads became the tumescent idols of his sparkling photographic oeuvre.  Something of an antithesis to Helmut Newton - Bourdin was more mercurial, irascible - never once having the semblance of desire to publicly exhibit his work and angrily turning down what must have been multiple book offers. Myths are also quick to to invent Bourdin as something of a sadist - a regular 21st century Marquis de Sade - leading those close to him to take desperate measures to escape him. One of his girlfriends hung herself - her body discovered by Bourdin's 13 year old son. Another attempted suicide by slashing her wrists. A third died in a fall. Another of a drug overdose while in bed watching television. Its the stuff of legend. Once, Bourdin's assistants covered a pair of models with black pearls using a type of glue that interfered with the ability to regulate body temperature - the pearls were feverishly removed and after the models awoke from losing consciousness Bourdin muttered, coldly, "Oh, it would be beautiful to photograph them dead in bed." However, beyond the circumstances of his turbulent life and troubled psyche, Bourdin was a luminary who created indelibly brilliant images that will no doubt have an eternal influence on fashion photography.

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Guy Bourdin - Jourdan Campaign - Spring 1971

Bourdin's only memory of his mother was vague at best: Parisienne, heavy make up, pale skin, and light red hair.  Born in 1928 in Paris, after a year Bourdin was abandoned and forced to live with his grandparents.  Whilst abroad in the French armed forces Bourdin would see an image that would infect his imagination with the insatiable desire to take pictures: a close up of a bell pepper by the photographer Edward Weston. The pepper, no doubt, a twisted, erotic nod to the female form would inspire any artist and at a glance could make a man, for the first time, pine for a legume.

"There is a sum of evil equal to the sum of good, the continuing equilibrium of the world requires that there be as many good people as wicked people." Marquis de Sade

When Bourdin returned from military service in Dakar he sought out the mentorship of Man Ray. Lofty goals for a young artist, but Bourdin was a total freak. Bourdin arrived at Man Ray's doorstep six times. Each time Bourdin was turned away by Man Ray's wife, but on his last try Man Ray opened the door. Bourdin would become his protégé. In the 1950s Bourdin photographed fashion editorials for French Vogue - he was one of their favorite "go to" photographers, but it wasn't until he was with the French shoe company Jourdan that he  would created most his iconic images.

Bourdin's campaigns for Jourdan would invent a style that would drastically change an otherwise stolid landscape of 1950s commercial fashion photography. Bourdin, with his loud colors, violence, murder scenes, and women sprawled out with an akinetic sense of sexual electricity, would change all that, forever.  Guy Bourdin, who died of cancer in 1991, was extremely poor at perserving his own legacy. His estate wasn't even organized until the year 2000. Maybe he believed he didn't deserve it or maybe he didn't believe in a legacy at all. The one thing he did believe in was art - art to the last drop.

Exhibits, although they are becoming much less rare, are sights to behold. Now on view at the Casa de Cultura Mario Quintana in Brazil is a retrospective of Guy Bourdin's work from his early work in the 1950s all the way to 1990.  www.ccmq.com.br

Text by Oliver Maxwell Kupper for Pas Un Autre

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Guy Bourdin - Lui Magazine

Spirited Away: A Brief History of Haunted Photography

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Jacques Henri Lartigue “Zissou as a ghost Pont-de-l'Arche”, 1905

You could imagine it really: developing a photograph only to discover a ghostly apparition - a mysterious double, a whitish ephemera.  It could be enough to make you believe in ghosts if you knew it wasn't a hoax.  Could the apparition be a long lost relative? Could it actually be a ghost? They must have wondered. During the nascence of photography spirit photography was in vogue. Photography still held on to a sort of magical aura and to use it to communicate with the dead made photography a portal into the afterlife.  It was the 1860s - people had lost loved ones in the Civil War - death was omnipresent and gullibility was at an all time high.  One of the greatest spirit photographers was William H. Mumler. One day he developed a photograph that appeared to show a cousin that had been deceased for twelve years - it was actually a double exposure - and Mumler had inadvertently stumbled on to his calling. Like a vulture Mumler preyed on people's greif. One of Mumler's most famous photographs apparently shows Mary Todd Lincoln with the "ghost" of her husband, Abraham Lincoln. Mumler would eventually be tried in court as fraud.  He was acquitted, but his career was destroyed and he died penniless.  What are left of the spirit photographs today are haunting; some are ridiculous. We know now they weren't actual spirits, but they were symbolic, visual accountings of a zeitgeist - of humanity's willingness to exploit technology for our insatiable, lustful curiosity and material gain.

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Albert von Schrenck-Notzing, "The medium Eva C. with a materialization on her head and a luminous apparition between her hands", May 1912

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Anonymous, "Partial dematerialization of the medium Marguerite Beuttinger", 1920

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Madge Donohoe, "Skotograph", 1930

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Anonymous, "Levitation of the medium Colin Evans, photographed in darkness using infrared, from the front", 1938

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Albert von Schrenck-Notzing, "The medium Stanislawa P: emission and resorption of an ectoplasmic substance through the mouth",  1913

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Anonymous, "The ghost of Bernadette Soubirous", 1890, Albumen silver print

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Thomas Glendenning Hamilton, "Mary M. with umbrella ectoplasm', 25 February 1934

Mein Kulturkampf: Andres Serrano Vs. The Jesus Freaks

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Last Sunday French Christian fundamentalist vandals went on an all out attack on a photograph by artist Andres Serranoat the Je Crois Aux Miracles (I Believe in Miracles) exhibition at the Collection Lambert, a contemporary art museum in Avignon, France. The photograph, Piss Christ, an image of Jesus Christ on the cross submerged in the artist's own urine, was damaged "beyond repair."  Other photographs were damaged and museum guard's lives were threatened.  If this was the middle ages Andre Serrano would undoubtably be burned alive at the stake, or...crucified. Religion and culture has always been an oxymoronic, delicate, and oft times violent affair, but spite begets spite and the holy war against sacrilege in art will always wage, and with no real front lines, as well as mass confusion as to who is the real enemy is, will never be won nor lost.

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Andres Serrano is undoubtably a "shock artist" and his images are bound to illicit a response; whether good or bad depends on the viewer. Serrano's photograph Blood and Semen III - the title speaks for itself - was used by Metallica for their 1996 album Load. Is it disgusting, beautiful or both?  Serrano, who was born in 1950 in New York City, is half Honduran, half Afro-Cuban, and interestingly was raised a strict Roman Catholic. Serrano did not start making art seriously until he was 28 years old and has since exhibited globally with multiple career retrospectives.  Serrano's art has had many close calls, but never as violent as last Sunday's attack.

If tens of thousands of years of human civilization haven't proved that we are a depraved species fighting back desperately our primordial urges, we have a long way to go.  In the 1990s Andres Serrano was a pivotal figure in the culture wars that waged between conservative America and the National Endowment of Arts as to whether tax payer money should be allocated to support artists like Serrano. But it begs the question: who are the real radicals and when does this brand of blatant censorship infringe on freedom of expression?

In Andres Serrano's case he can rest assure that as long as he keeps dipping figures of Jesus Christ in jars of  his own urine the mob will always be at his door with pitchforks. But, in the case of those that can appreciate the aesthetic and visceral significance of Serrano's art, amen to you.  After three days of forced closure, despite repeated death threats, Piss Christ is miraculously on view again, albeit severely damaged.

Je Crois Aux Miracles exhibition is on view at the Collection Lambert in Avignon, until May 8th - ww.collectionlambert.com

Text by Oliver Maxwell Kupper for Pas Un Autre

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[BOOKS] PATRICK HOELCK'S POLAROID HOTEL

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LOS ANGELES - OHWOW and Leadapron are to host a book release and book signing event for Patrick Hoelck's Polaroid Hotel.

Press, flash, picture. Simple. Then wait. And wait. And wait some more. The anticipation to see what you have captured is a thrill that has been lost with modern technology. In a world full of instant there have been unfortunate casualties. Polaroid instant film was almost one of them. It's not just the nostalgia that makes Polaroids alluring. It's the unpredictability. You never know if you're going to end up with a masterpiece or a disaster but it really doesn't matter, it's yours.

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In Polaroid Hotel, Hoelck pays tribute to the art of Polaroid photography with a book of images that capture intimate moments of his life and career throughout 17 years, showing that just because Polaroid has aged it hasn't lost its appeal.

Patrick Hoelck is an American contemporary photographer and director. This is Hoelck's second publication following his first book Tar, that is now out of print and considered a classic. Hoelck has shot major editorial, fashion and advertising campaigns and recently made his feature film directorial debut with Mercy, winning Best Director and Best Film in the Savannah Film Festival amongst other honors.

The book release and signing will be on the evening of Thursday, April 21, 2011 at OHWOW Gallery. www.oh-wow.com

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Last Full Measure: A Collection of Civil War Photographs

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One hundred and fifty years ago yesterday America began a war with itself.  Over half a million would die. It was the bloodiest war in American history.  It was a war that defined our nation -  proof that goodness could triumph over oppression and evil - that common sense and justice would always prevail. We were a young, united union of proud, idealistic, and powerful Americans in the throes of a world wide industrial revolution. The first musket shots rang out on April 12th 1861.  Abraham Lincoln had just become president. All the Northern States had already abolished slavery. Lincoln planned to do the same and much more down South where slavery was still mostly legal. In response, the Southern cotton growing states succeeded and created The Confederacy, seeking independence from the United States.  The Civil War was not only a quagmire of differing political views - it was a fight for the protection of the old way and cheap labor - slavery. It was a fight born from stubbornness, refusal and also fear.  After fours years, famous battles were fought, entire cities were razed, states were won and lost, and in the end the North had won and the Emancipation Proclamation was signed, freeing all the slaves.  Now, one hundred fifty years later, we look back with intense curiosity at the thousands upon thousands of ambrotype and tintype photographs of the men who fought that fateful, hard-won battle.

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The Last Full Measure: Civil War Photographs, now on view in Washington D.C., is a collection from the Liljenquist Family Collection.  It includes stunning Civil War-era ambrotype and tintype photographs, associating the "human faces, often startlingly young, with statistics on both sides in this wrenching conflict. This exhibition features portraits of enlisted men in uniform—both Union and Confederate—and serves as a memorial to those who lost their lives during the war by displaying images of 360 Union soldiers in uniform—one for every thousand who died—and 52 rare images of Confederate soldiers—one for every five thousand casualties."

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Tom Liljenquist and his sons, life long inhabitants of Virginia, had become obsessed with the Civil War after finding bits of shells, artillery, and bullets around their home. In 2010 they donated what had become the Liljenquist Family Collection of ambrotype and tintypes to the Library Congress for posterity. This exhibition is on view until August 13, 2011 at the Library of Congress. www.myloc.gov

Text by Oliver Maxwell Kupper for Pas Un Autre Images Courtesy of the Library of Congress

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NOBUYOSHI ARAKI, It Was Once a Paradise

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It Was Once a Paradise, Japanese photographer Nobuyoshi Araki’s new series of photographs, shown as 40 diptychs, is a bi-polar collision of the id and superego. In his new, as-yet-unseen series, which will be shown later this month at Reflex Art Gallery in Amsterdam,  Araki “addresses the complex relationship between loss and desire, which translates as despair and hope, separation and symbiosis, the internal and the other.” Nobuyoshi Araki, who is now 71 and has published over 400 books of photography, has had a life long fascination with sex & death in his work.

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In his new series, Araki’s diptychs are a contrast of two independent, but mutual worlds. On one side are black and white photographs of close-ups of his Tokyo balcony, a place that was once his own private world shared with his late wife and cats - a sanctuary  now overrun with the despairing, assemblage of toy monsters and dinosaurs - symbolic of a certain infestation of deep melancholy and, seemingly, a realization of mortality. On the other side of the diptych is a color image of a beautiful, nude women, intricately tied up - adumbrative of the eternal, erotic, technicolor Oz of sexual desire.  In Japan, Kinbaku, or ’the beauty of tight binding’ is the intricate art of bondage of which Araki is somewhat of a master.  It can be concluded though, that a true elucidation of the meaning of Araki’s photographic oeuvre is not entirely attainable - which is a testament to their beauty and vast psychological complexity. Araki is, after all, an artist. Nobuyoshi Araki, It Was Once a Paradise will be on view from April 23 till July 16 2011 at the Alex Daniels - Reflex Gallery in Amsterdam. There will also be a book published in conjunction with the exhibit. www.reflexamsterdam.com

Text by Oliver Maxwell Kupper for Pas Un Autre

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DAVID BENJAMIN SHERRY: Form Forming Formation

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Touched by the Hand of God

David Benjamin Sherry, whose solo show is opening at OHWOW gallery on April 30th in Los Angeles, is a photographer on the rise, and maybe acid. Sherry's brilliant photographic machinations include strikingly prismatic still lives, tableau vivants, all with electric colors, and as a testament to the electricity of his images, all are analog C-Prints - which means he uses film.

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Spectral Red, Give Me Head Till I'm Dead

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Making Sure White Sand Dunes Stain

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Manorathadayaks

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Self Portrait as the Born Feeling Begins

The upcoming exhibition, Form Forming Formation, is a solo presentation of David Benjamin Sherry’s photographic work that studies "concepts of geometry, science, color, materiality, and the course of change." David Benjamin Sherry: Form Forming Formation is on view April 30 - May 27, 2011 at OHWOW gallery in Los Angeles. www.oh-wow.com

Bruce Davidson's Rebellious Teenagers

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Bruce Davidson 1959, New York City, Coney Island, 1959.

Bruce Davidson, unlike other photographers before him, embedded himself in the world of his subjects for extended periods he even joined a circus in 1958 in order to get the right pictures the results of which formed themselves into series of powerful photo-essays. Brooklyn Gang' and East 100th Street' are perhaps his two most famous, and are the results of months and months living with both a gang of youths on Coney Island, and the inhabitants of a run-down tenement block in Harlem, New York. Through a combination of familiarity and his own visual poetry, Davidson brought these, and other subjects, to life in the many books and exhibitions that resulted from these projects.  Opening in May 2011, an exhibition in London will focus on several of these key photo-essays, namely, The Circus, Brooklyn Gang, Civil Rights Movement, East 100th Street, England/Scotland/Wales - 1960, and Central Park. www.chrisbeetlesfinephotographs.com

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Bruce Davidson, Kiss, 1959.

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Bruce Davidson 1959, New York City, Coney Island, 1959.

brooklyn_gang_bruce_davidson

Bruce Davidson 1959, New York City, Coney Island, 1959.

bruce_davidson_girl_juke_box_brooklyn_gang

Bruce Davidson 1959, New York City, Coney Island, 1959.

bruce_davidson_brooklyn_gang_in_bar

Bruce Davidson 1959, New York City, Coney Island, 1959.

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bruce_davidson_photography_new_york_brooklyn_gang

Bruce Davidson 1959, New York City, Coney Island, 1959.