Meiselas reflects on her experience working in Latin America and why it’s essential to revisit a body of work over time.
via Aperture: https://aperture.org/editorial/how-susan-meiselas-documented-nicaraguas-revolution/
The photographer reflects on her experience working in Latin America and why it’s essential to revisit a body of work over time.
https://aperture.org/editorial/how-susan-meiselas-documented-nicaraguas-revolution/
Just as we risk becoming inured to the crisis, an exhibition, “Coal + Ice,” serves as a stunning call to action.
via The New Yorker: https://www.newyorker.com/news/daily-comment/images-of-climate-change-that-cannot-be-missed
I think the single best collection of images of the climate crisis I’ve ever seen is the exhibit that will be up through early August at the Asia Society, on Park Avenue. (If that seems a parochial spot for a global exhibit, it is worth remembering that sixty per cent of the world’s population lives in Asia.) Co-curated by the celebrated photographer Susan Meiselas and the exhibition designer Jeroen de Vries, and led by the Asia Society’s Orville Schell, the longtime China watcher and correspondent for The New Yorker (whose late brother Jonathan wrote “The Fate of the Earth,” which first appeared in the magazine), “Coal + Ice” is an evolving project
https://www.newyorker.com/news/daily-comment/images-of-climate-change-that-cannot-be-missed
Susan Meiselas’s intimate view of a sex-industry subculture remains a remarkable document of its time.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/revisiting-the-world-of-carnival-strippers
Susan Meiselas was twenty-four years old when she began photographing the women of carnival strip shows, in 1972. The following three summers, at small-town fairgrounds on the East Coast, she captured the performers both onstage and off, nude and not, in dim, makeshift dressing rooms or outdoors in sunshine, against a shifting backdrop of box trucks, tents, and painted plywood sets
Sabiha Çimen, Susan Meiselas, Alex Webb, and more on how happy accidents and unusual turns led to their most memorable images.
via Aperture: https://aperture.org/editorial/11-photographers-on-seeking-the-unexpected-in-their-work/
Sabiha Çimen, Susan Meiselas, Alex Webb, and more on how happy accidents and unusual turns led to their most memorable images.
The Magnum president’s latest book reinterprets her cult classic Learn to See for young people.
Eyes Open is loosely inspired by Meiselas’ previous cult classic, Learn to See, a sourcebook of ideas from and for teachers and students published by the Polaroid Foundation in 1974. Reimagining this volume nearly 50 years later, Eyes Open saw Meiselas work with students and their work, not to mention an array of teachers who also submitted ideas for the newly published tome.
This week on Photojournalism Now: Friday Round Up – the 10th annual Women’s show at Magnet Galleries, Melbourne, plus a review of Dr. Lauren Walsh’s exceptional book, Conversation…
via Photojournalism Now: https://photojournalismnow43738385.wordpress.com/2020/02/07/photojournalism-now-friday-round-up-7-february-2020/
For those of us who work in journalism the myth of the cavalier photojournalist who rushes toward conflict with zeal is well established. Robert Capa’s famous comment about photographers needing to get close to the action in order to capture the best picture is part of industry folklore. Don McCullin has spoken about the adrenalin rush of going to war, likening it to drug addiction. Tim Page’s antics during the Vietnam War have been immortalised in pop culture, Dennis Hopper’s character in the movie Apocalypse Now modelled on the British photographer. Yet while there are those who are lauded as celebrities, the vast majority of conflict photojournalists work in the background, committing themselves to covering some of the world’s darkest moments, to bearing witness to history, largely invisible to the outside world. Glory and money do not motivate them. In fact, these days it is more difficult to make ends meet than ever before. So what drives an individual to the frontline or to document the depths of human misery?
As for “new documentary,” I find some of these approaches of interest, particularly the focus on a more distanced “aftermath,” rather than “decisive” moments of engagement. I still feel the dividing line is when photographers re-enact, which is closer to the tradition of docudrama than reportage. Sometimes it is very effective but defining the difference is still important to me.
Read the latest stories about LightBox on Time
via Time: https://time.com/section/lightbox/
As the EF announced the latest round of photographers it would be supporting, LightBox spoke to Magnum Foundation President and photographer Susan Meiselas who heads up the EF, about its mission, and the challenges facing documentary photography today.
In On the Frontline, her new book published by Aperture, influential photographer Susan Meiselas provides an insightful personal commentary on the trajectory of her career—on her ideas and processes, and her decisions as a photographer. Applying a sociological training to the practice of witness journalism, she compares her process to that of an archaeologist, piecing together shards of evidence to build a three-dimensional cultural understanding of her subjects.
Ms. Meiselas, a Magnum photographer since 1976, is the subject of a new book, “Susan Meiselas: Mediations,” which examines her long career and diverse body of work.
Link: https://www.nytimes.com/2018/07/03/lens/susan-meiselas-mediations.html
Susan Meiselas, who joined Magnum Photos in 1976, is also the president and co-founder of the Magnum Foundation. Born in 1948 and starting as a teacher in the South Bronx, she went on to produce a definitive chronicle of Nicaragua’s Sandinista revolution. More recently, she has led the foundation’s efforts to nurture a new, diverse generation of photographers. Her books include “Carnival Strippers,” “Nicaragua,” and “Prince Street Girls.” In the last year, she has also been the subject of two books, “Susan Meiselas: Mediations” (Damiani) and “Susan Meiselas: On the Frontline” (Thames & Hudson). She spoke with James Estrin about her career. The conversation has been edited for clarity and length.
“Every picture tells a story and has another story behind it: Who’s photographed? Who made it? Who found it? How did it survive?”
via Mother Jones: https://www.motherjones.com/politics/2018/07/susan-meiselas-work-has-changed-how-we-think-about-photojournalism-her-retrospective-actually-does-it-justice/
It was fitting that not long before the opening of her major retrospective at the San Francisco MoMA this summer, Susan Meiselas was back in Nicaragua, making photos. Her coverage of the Nicaraguan revolution 40 years ago helped launch her career; now, at the opening of her exhibition in mid-July, she lamented the current state of the Central American country, once again embroiled in a violent revolution to overthrow a repressive government. The script has flipped with Daniel Ortega, brought to power by the Sandinasta revolution that Meiselas covered, accused of a brutal crackdown on protesters.
From Gerda Taro to Susan Meiselas, a new book examines the ways eight women have expanded the field of war photography.
via Aperture Foundation NY: https://aperture.org/blog/women-war-photography/
From Gerda Taro to Susan Meiselas, a new book examines the ways eight women have expanded the field of war photography.
Whether it’s documenting the lives of showgirls or an unfolding revolution, Susan Meiselas’ open-ended approach gives the images a life of their own.
via Huck Magazine: https://www.huckmag.com/art-and-culture/photography-2/magnum-photographer-susan-meiselas-life-images/
Magnum photographer Susan Meiselas has spent five decades questioning the practice of photography. But whether it’s documenting the lives of showgirls or an unfolding revolution, her open-ended approach gives the images a life of their own.
As a new, traveling retrospective honors Susan Meiselas’s work, she speaks to PDN about the evolution of her approach to her subjects, mixing personal and assignment work, and providing opportunities to the next generation.
via PDN Online: https://www.pdnonline.com/features/photographer-interviews/susan-meiselas-motivation-legacy-future-photojournalism/
The work of American photographer Susan Meiselas is the subject of a traveling retrospective exhibition currently on view at the Jeu de Paume in Paris, France and opening in July at the San Francisco Museum of Modern Art. “Mediations,” which is accompanied by a catalogue published by Damiani, brings together a selection of series from the 1970s to the present, calling attention to Meiselas’s photographic approach and her lifelong commitment to engage in a “cycle of return” with her subjects, going back to the communities she has photographed and sharing the work with them. The exhibition also demonstrates how Meiselas has found ways to extend narratives beyond a photographic frame by using audio, film and archival materials to build layered stories that include multiple perspectives. The retrospective follows on the heels of her book On the Frontline, a memoir about her career published last fall by Aperture. In it, she discusses the experiences, motivations and ideas that shaped different, yet connected, bodies of work.
The great photographer has spent five decades capturing ordinary people caught in the turbulence of history. As a retrospective opens, she reveals the ways being a woman helped
via the Guardian: https://www.theguardian.com/artanddesign/2018/feb/07/susan-meiselas-mediations-jeu-de-paume-molotov-men-war-widows-and-carnival-strippers
The great photographer has spent five decades capturing ordinary people caught in the turbulence of history. As a retrospective opens, she reveals the ways being a woman helped
In her new photo-memoir, the photographer returns to the origin of her career to reflect on all she’s remembered, and why it’s worth remembering.
via The Nation: https://www.thenation.com/article/susan-meiselas-on-the-frontline-redemptive-time/
In her new photo-memoir, the photographer returns to the origin of her career to reflect on all she’s remembered, and why it’s worth remembering.
[contentcards url=”http://www.loeildelaphotographie.com/en/2017/05/23/article/159952560/susan-meiselas-nicaragua-7879/”]
This week on Photojournalism Now: Friday Round Up I’m sharing a couple of stories I wrote that were published recently in New Zealand Pro Ph…
Link: http://photojournalismnow.blogspot.com/2016/11/friday-round-up-18-november-2016.html
This week on Photojournalism Now: Friday Round Up I’m sharing a couple of stories I wrote that were published recently in New Zealand Pro Photographer – a book review on Stuart Franklin’s The Documentary Impulse and also a Q&A with Susan Meiselas. But first, Donna Ferrato…