Category: Portfolios & Galleries

Rediscovering Garry Winogrand’s long forgotten color work – Feature Shoot

Rediscovering Garry Winogrand’s long forgotten color work – Feature Shoot

Garry Winogrand (American, 1928-1984). Untitled (Cape Cod), 1966. 35mm color slide. Collection of the Center for Creative Photography, The University of Arizona. During the 1950s and ‘60s, Garry Winogrand made…

via Feature Shoot: https://www.featureshoot.com/2019/05/rediscovering-garry-winogrands-long-forgotten-color-work/

Known best for his black and white photographs that pioneered a snapshot aesthetic in fine art, Winogrand’s color work is now receiving its due in Garry Winogrand: Color at the Brooklyn Museum, now through December 8, 2019.

May 30, 2019
Ashly Stohl: The Days are Long and the Years are Short | LENSCRATCH

Ashly Stohl: Days & Years

I remember a day long ago, when I was cleaning out my purse, removing such items as a rotten banana, a half eaten protein bar, wads of kleenex and a few other sticky and seen-better-days items, plus numerous happy meal toys, all co-mingled with my adult p

via LENSCRATCH: http://lenscratch.com/2019/05/karen-navarro/

Making photographs about being a parent was once considered mundane and not wall worthy. Personally, I have have found the tableau of every day life, the small operatic performances and travails of co-existing and growing up to be immensely fascinating. Photographer and Peanut Press Books founder, Ashly Stohl, had been focusing her lens on her family for years, with an eye towards the poignant humor of living under the roof with three children in various stages of becoming. Her wonderful photographs are now a book, The Days are Long and the Years are Short, published by Peanut Press Books and the work is currently on exhibition at the Leica Gallery in New York until the end of June, with a book signing on June 20th from 6 -8pm.

May 28, 2019
Pieter-Jan De Pue : Kings of Afghanistan

Pieter-Jan De Pue : Kings of Afghanistan

Filmmaker and photographer Pieter-Jan De Pue spent almost eight years in Afghanistan. There he worked on his award-winning film The Land of the Enlightened. As well as researching, preparing and making his film, PJ also continued to take photographs. His photos are portraits of people and landscapes, as are his diary entries. A recurring theme is his huge admiration for the country, its spectacular landscape, and the resourceful children for whom survival became the art of living. His images – both film and photos – come about as a result of a slow process. The landscapes with its timeless caravans of people and animals show the resilience of a country for more than 40 years in war.

May 22, 2019
Juxtapoz Magazine – Travis Jensen Explores One of the Last Real San Francisco Neighborhoods In Stunning Black & White

Juxtapoz Magazine – Travis Jensen Explores One of the Last Real San Francisco Neighborhoods In Stunning Black & White

San Francisco seems to be the “example” city these days. The example of gentrification, of tech booms, of extreme wealth, of extreme poverty, of liber…

Link: https://www.juxtapoz.com/news/photography/travis-jenson-explores-one-of-the-last-real-san-francisco-neighborhoods-in-stunning-black-white/

For seven years, Travis Jensen has embedded himself in The City’s Excelsior District, a neighborhood at the southern central tip of SF that has remained, for all intents and purposes, a neighborhood not quite inundated by the massive influx of wealth and tech booms that much of the city has seen. That project, which culminated hundreds of photos documenting the culture that surrounds the people who reside in the Excelsior, will be on display at Photoworks in San Francisco starting on June 5, 2019. Excelsior District: Forever Upward is a photo-documentary project seven years in the making that highlights San Francisco’s vibrant Excelsior District that many consider being The City’s last working-class neighborhood. It’s a story about a rapidly-changing city, family, friendship, brotherhood, camaraderie, and the power of photography.”

May 22, 2019
These Portraits of Metalheads Go to 11 – The New York Times

These Portraits of Metalheads Go to 11

Returning to venues where he attended metal shows years ago, Matthew DeFeo captures the vulnerability behind these artists’ angsty facades.

Link: https://www.nytimes.com/2019/05/16/lens/these-portraits-of-metalheads-go-to-11.html

Returning to venues where he attended metal shows years ago, Matthew DeFeo captures the vulnerability behind these artists’ angsty facades.

May 17, 2019
Poetry Meets Politics in Photos of China – The New York Times

Poetry Meets Politics in Photos of China

Between violent flash points in history, Liu Heung Shing saw tenderness and subversive humor in societies saturated with propaganda.

Link: https://www.nytimes.com/2019/05/15/lens/liu-heung-shing-china-photos.html

Liu Heung Shing looked outside the car window: an imposing portrait of Mao Zedong had disappeared from the east side of Tiananmen Square. It was 1981.

May 16, 2019
Documenting Climate Change by Air, Land and Sea – The New York Times

Documenting Climate Change by Air, Land and Sea

The New York Times photographer Josh Haner has spent the past four years capturing the effects of climate change around the world and under water.

Link: https://www.nytimes.com/2019/05/14/lens/climate-change-josh-haner-air-land-and-sea.html

The New York Times photographer Josh Haner has spent the past four years capturing the effects of climate change around the world and under water.

May 15, 2019
Juxtapoz Magazine – From Africa to China with Pieter Hugo

Juxtapoz Magazine – From Africa to China with Pieter Hugo

Pieter Hugo is probably best known for his brutally frank portraits of his “kin,” mainly the Afrikaners of South Africa’s post-apartheid era. Later on…

Link: https://www.juxtapoz.com/news/photography/from-africa-to-china-with-photographer-pieter-hugo/

Pieter Hugo is probably best known for his brutally frank portraits of his “kin,” mainly the Afrikaners of South Africas post-apartheid era. Later on, his portraits of Nigerian gangs wielding chained hyenas in intimidating poses brought international recognition. Traversing Africa, clearly unafraid to venture out to areas earlier closed to South African passport holders, Pieter has shot starkly direct portraits of young and old, often against a backdrop of ravaged landscapes and still life images. His photo work includes Rwandan children a decade after the genocide; Ghanaian city workers at toxic recycling dumps; Ghanas rural wild honey collectors, donning make-shift tree leaves against dangerous bee stings; South Africans with albinism; and, intimate looks at family and friends, as well as self-portraits.

May 14, 2019
Jonathan Torgovnik : Intended Consequences & Disclosure (25 years later)

Jonathan Torgovnik : Intended Consequences & Disclosure (25 years later)

In 2006, Jonathan Torgovnik worked on a photographic essay, on the children born as a result of rape during the genocide there in 1994.

Many Tutsi women were forced to watch their husbands killed right in front of them, and then were brutally and repeatedly raped by Hutu militias. They often contracted AIDS and gave birth to children, who were at the time unwanted. Their woes were exacerbated by their own tribe’s rejecting both mother and child because the child was the product of mixed parentage. These little family units received little or no help or comfort.

May 13, 2019
A Daughter’s Portrait of Her Mother Through Dementia | The New Yorker

A Daughter’s Portrait of Her Mother Through Dementia

Dementia is often ugly, stressful, and isolating; for the photographer Cheryle St. Onge, taking pictures of her mother is a way of expressing happiness, connection, and love.

via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-daughters-portrait-of-her-mother-through-dementia

The photographer Cheryle St. Onge is an only child. Her father was a physics professor and researcher; her mother, Carole, was a painter. “I had a truly magical childhood,” St. Onge told me recently. She grew up on university campuses, in Michigan, Massachusetts, and New Hampshire, going on sailing trips and nature walks with her parents. St. Onge’s photos, which often celebrate the natural world, pay tribute to that inheritance. “It was a mix of science, authenticity, and curiosity,” she said. “I think that’s the nature of life for me.”

May 12, 2019
In Photos, Eudora Welty Captured Life in 1930s Mississippi – The New York Times

In Photos, Eudora Welty Captured Life in 1930s Mississippi

Before her career as a distinguished fiction writer, Eudora Welty applied her short-form prowess to photographing life in Depression-era Mississippi.

Link: https://www.nytimes.com/2019/05/09/lens/eudora-welty-photos-mississippi.html

Before her career as a distinguished fiction writer, Eudora Welty applied her short-form prowess to photographing life in Depression-era Mississippi.

May 10, 2019
Two and a Half Decades Observing Life in Rural America | The New Yorker

Two and a Half Decades Observing Life in Rural America

From the eighties into the two-thousands, Sheron Rupp traversed the United States, with her camera, lingering in the yards of the small towns she visited and documenting the ways that private life can spill out into public view.

via The New Yorker: https://www.newyorker.com/culture/photo-booth/two-and-a-half-decades-observing-life-in-rural-america

The subjects of Sheron Rupp’s photographs can often be found in their yards, where garden hoses twist in loops near their bare ankles and kids take up broken branches as props. People young and old move through gardens, sit back on porches, and stand amid drying laundry. Grass has been worn to dirt in patches between driveways and front steps. For two and a half decades, from the eighties into the two-thousands, Rupp traversed the United States, with her camera, lingering in rural towns. She would spot something that interested her—kiddie pools, bird houses, bicycles—pull over to the side of the road, and spark conversations with whoever she encountered. Only after getting to know them would she explain that she was a photographer. In her new book, “Taken From Memory,” we see the results of those acquaintanceships and the many ways that private life can spill out into public view.

May 9, 2019
The CENTER Awards: Project Launch Grant Winner: Igor Tereshkov | LENSCRATCH

The CENTER Awards: Project Launch Grant Winner: Igor Tereshkov

Congratulations to Igor Tereshkov for being selected for CENTER’s Project launch Grant recognizing his project, Oil and Moss. The Project Launch Award is granted to an outstanding photographer working on a fine art series or documentary project. The gran

via LENSCRATCH: http://lenscratch.com/2019/05/the-center-awards-project-launch-grant-winner-igor-tereshkov/

Congratulations to Igor Tereshkov for being selected for CENTER’s Project launch Grant recognizing his project, Oil and Moss. The Project Launch Award is granted to an outstanding photographer working on a fine art series or documentary project. The grant includes a cash award to help complete or disseminate the works, as well as providing a platform for exposure and professional development opportunities.This grant is awarded to complete or nearly completed projects that would benefit from the grant award package. It requires signature of a contract to participate in an exhibition during Review Santa Fe and offers participation in a winner’s exhibition at the Pictura Gallery in Bloomington, IN.

May 7, 2019
Examining Identity, Race and Responsibility Among White South Africans – The New York Times

Examining Identity, Race and Responsibility Among White South Africans

Sydelle Willow Smith’s photos tease out the complexities of her white South African compatriots, who grapple with the question of national origin.

Link: https://www.nytimes.com/2019/05/01/lens/examining-identity-race-and-responsibility-among-white-south-africans.html

Sydelle Willow Smith’s photos tease out the complexities of her white South African compatriots, who grapple with the question of national origin.

May 2, 2019
Same Pictures. Same Places. 68 Years Apart. – The New York Times

Same Pictures. Same Places. 68 Years Apart.

In iconic locations, we recreated New York Times photos from 1951.

Link: https://www.nytimes.com/2019/05/01/nyregion/nyc-photos-from-1951.html

The things we hold have changed, but the maneuvers are the same.

May 2, 2019
Juan Pablo Bellandi – The Tale Nobody Tells « burn magazine

Juan Pablo Bellandi – The Tale Nobody Tells

Juan Pablo Bellandi The Tale Nobody Tells [ EPF 2018 SHORTLIST ] My job as a Photographer of the pólice in Venezuela for more than two years has taught me through crude lessons to see myself as a p…

via burn magazine: https://www.burnmagazine.org/essays/2019/04/juan-pablo-bellandi-the-tale-nobody-tells/

My job as a Photographer of the pólice in Venezuela for more than two years has taught me through crude lessons to see myself as a policeman, with the particularity that I possess a camera.

April 30, 2019
Fashioning the Feminine Ideal in the Photos of Martine Gutierrez – Feature Shoot

Fashioning the Feminine Ideal in the Photos of Martine Gutierrez – Feature Shoot

Martine Gutierrez, Girl Friends (Rosella & Palma 4), 2014. Martine Gutierrez, Line Up 5, 2014. Martine Gutierrez, Girl Friends (Anita & Marie 3), 2014. Martine Gutierrez is a star, restoring…

via Feature Shoot: https://www.featureshoot.com/2019/04/fashioning-the-feminine-ideal-in-the-photos-of-martine-gutierrez/

Martine Gutierrez is a star, restoring performance art to its rightful place in the pantheon. As artist and muse, Gutierrez uses film and photography as a medium uses a crystal ball, gazing into the vast unknowable realm until an image occurs — a lyrical poem, a visual ode to the mellifluous construction of the feminine as a look, a lifestyle, and the glorious manifestation of luminous artifice.

April 30, 2019
Blue Earth Alliance: Richard Street: Knife Fight City and the Kingdom of Dust | LENSCRATCH

Blue Earth Alliance: Richard Street: Knife Fight City and the Kingdom of Dust

A hard-luck story from a hard-luck place, Richard Street’s “Knife Fight City and the Kingdom of Dust” takes us to Huron, the poorest town in California. Direct on-camera flash lends a Weegee-like aesthetic to desperate scenes of migrant men running afoul

via LENSCRATCH: http://lenscratch.com/2019/04/blue-earth-alliance-3/

A hard-luck story from a hard-luck place, Richard Street’s “Knife Fight City and the Kingdom of Dust” takes us to Huron, the poorest town in California. Direct on-camera flash lends a Weegee-like aesthetic to desperate scenes of migrant men running afoul of the law, or a rival gang, or their own worst impulses. See a close overhead shot of EMTs resuscitating one field hand overdosing on black tar heroin, or of a different field hand being dragged kicking and screaming into a drunk tank by a police sergeant, the hand-to-hand human contact forming a perverse visual counterpoint of the Sistine Chapel ceiling. But Street aligns himself more pointedly with the empathetic tradition of Dorothea Lange, following immigrant agricultural workers after their workday to a lonely gully wilderness where they eke out an existence on the bank of a ditch, tending to their hand-built homes of cardboard and corrugated metal under a California sun. —Thomas Patterson

April 29, 2019
This City Is an Overcrowded, Illogical, Inhospitable Marvel – The New York Times

This City Is an Overcrowded, Illogical, Inhospitable Marvel

Berenice Abbott captured the egomania and wanton development of New York’s streetscapes almost a century ago. The city is still at it.

Link: https://www.nytimes.com/2019/04/25/lens/berenice-abbott-portraits-of-modernity-new-york.html

A generation before Kouwenhoven, Berenice Abbott captured this heathen beauty in a portfolio of photographs she called “Changing New York,” which was exhibited at the Museum of the City of New York in 1937. Her city is not a nesting ground for the people who lived there but a rivalry of individual egos craning to fill the horizon with their concrete and glass. If people live there, it is only because the buildings have not yet had time to crowd them out.

April 28, 2019
Blue Earth Alliance: Tim Matsui: Leaving the Life | LENSCRATCH

Blue Earth Alliance: Tim Matsui: Leaving the Life

One of the remarkable aspects of Tim Matsui’s “Leaving the Life” is the work he’s done to make sure that the project is more than an affecting, well-told story. For Matsui, creating an award-winning documentary film was just the beginning. He ran a succes

via LENSCRATCH: http://lenscratch.com/2019/04/blue-earth-alliance-2/

One of the remarkable aspects of Tim Matsui’s “Leaving the Life” is the work he’s done to make sure that the project is more than an affecting, well-told story. For Matsui, creating an award-winning documentary film was just the beginning. He ran a successful Kickstarter campaign to raise money to produce DVDs that he could use in his grassroots outreach. And he has helped aid and educate policymakers and others who are working to end sex trafficking of minors. Matsui pushes us to expand our thinking about the role visual storytellers can play in contemporary society. A longtime partner of Blue Earth, Matsui is currently fundraising for a follow-up film about the culture and politics creating the demand for sex buying.

April 28, 2019