This week’s Modern Art Notes Podcast features photographer and essayist Leo Rubinfiendiscussing the Garry Winogrand retrospective he has curated for the San Francisco Museum of Modern Art. The show opens this weekend!
Among the pictures Rubinfien discusses with host Tyler Green is Winogrand’s many zoo pictures, such as this 1963 photograph.
Winogrand’s pictures, typically taken with a hand-held camera, are classics of the street-photography genre that dominated American photography in the 1950s and ’60s. They captured American prosperity, the flight to the suburbs, the tumult of the Vietnam era and the retreat of Americans into a kind of self-interested hedonism in the 1970s and early ’80s.
Genesis, a Call to Arms with Sebastião Salgado
The Great Hall, The Foundation Building, Cooper Union, 7 East 7th Street
Saturday, September 20, 3:00pm
$15 General Admission
$10 Students & ICP Members
World-renowned photographer Sebastião Salgado recounts his epic eight-year journey across the globe to document the last pristine areas of the planet. The resulting photographs, collected in the project Genesis, show us what will be lost if we do not mobilize now to preserve the environment.
Initially an economist, Sebastião Salgado (born Brazil, 1944) began his photographic career in Paris in 1973. He worked with the Sygma, Gamma, and Magnum photo agencies until 1994, when he and his wife, Lélia Wanick Salgado, founded Amazonas images, dedicated exclusively to his photographic work. He has traveled in more than 100 countries for his photography projects, which, after being published in the press, are mostly presented in books—for example, Genesis (2013), Africa (2007), Migrations (2000), and Workers (1993).
Since 1990, Sebastião and Lélia have been working to reclaim the environment of a small part of the Atlantic Forest in Brazil by giving a plot of land they owned back to nature. In 1998, they made the area into a natural reserve and created the Instituto Terra, whose aims are reforestation and environmental education. In 2012, Sebastião and Lélia received an award from UNESCO for their work with Instituto Terra, and the “Personalidade Ambiental” first prize awarded by WWF Brazil. Salgado is a UNICEF goodwill ambassador and an honorary member of the Academy of Arts and Science in the United States.
ICP has a long history with Salgado. We first presented his work in 1988 in a small exhibition of images of Brazilian gold miners. Since then, we have showcased his first two long-term projects, Workers (1993) and Migrations (2000), each of which illuminates pressing social issues. Genesis is Salgado’s third long-term series.
This event is part of the Fall 2014 programming series ICP Talks: Climate Change. For a complete listing of series events, click here.
Jim Goldberg will be speaking at the Pratt Photography Lectures this fall in conversation with Donovan Wylie on October 1st.
And Next Wednesday September 10th The Pratt Photography Lectures inaugurates its 2014-2015 season with an evening focusing on the life and work of photographer Garry Winogrand. Curator John Szarkowski famously called Winogrand “the central photographer of his generation.” The event at Pratt Institute coincides with a major retrospective, Garry Winogrand, on view at the Metropolitan Museum of Art through September 21.
The evening will feature a keynote lecture by photographer and essayist Leo Rubinfien, entitled “The Reasons for Winogrand.” Rubinfien, the curator of Garry Winogrand, and the editor of the exhibition catalogue, is former protégé of Winogrand’s. His lecture will be followed by responses from and, a conversation with, three individuals who knew Winogrand during his lifetime: Jeff L. Rosenheim, Curator in Charge of the Department of Photography at The Metropolitan Museum of Art; Susan Kismaric, former curator of photography at the Museum of Modern Art; and Thomas Roma, photographer and Director of Photography at Columbia University. Photography Chair Stephen Hilger, will moderate the conversation, which will include a Q & A session with the audience. The run-time of the program is approximately 120 minutes. This event is co-sponsored by the Pratt Photo League.
Free and open to the Pratt community and to the public. Registration is required for this event. Please register here by September 8.
Congratulations LaToya Ruby Frazier on your first book! It’s been an honor to see this work grow in the last 9ish years. Beautifully printed and definitely filling a gap in the photo world
The Notion of Family
Photographs by LaToya Ruby Frazier
Interview by Dawoud Bey Essays by Laura Wexler and Dennis C. Dickerson
In this, her first book, LaToya Ruby Frazier offers an incisive exploration of the legacy of racism and economic decline in America’s small towns, as embodied by her hometown of Braddock, Pennsylvania. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political—an intervention in the histories and narratives of the region. Frazier has compellingly set her story of three generations—her Grandma Ruby, her mother, and herself—against larger questions of civic belonging and responsibility. The work documents her own struggles and interactions with family and the expectations of community, and includes the documentation of the demise of Braddock’s only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With The Notion of Family, Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family—and her mother in particular. As Frazier says, her mother is “coauthor, artist, photographer, and subject. Our relationship primarily exists through a process of making images together. I see beauty in all her imperfections and abuse.” In the creation of these collaborative works, Frazier reinforces the idea of art and image-making as a transformative act, a means of resetting traditional power dynamics and narratives, both those of her family and those of the community at large.
LaToya Ruby Frazier (born in Braddock, Pennsylvania, 1982) received her BFA in photography and graphic design in 2004 at Edinboro University, Pennsylvania, and her MFA in 2007 from the College of Visual and Performing Arts at Syracuse University, New York. In 2011, Frazier completed the Whitney Museum of American Art Independent Study Program and shortly thereafter was appointed Critic in Photography at the Yale University School of Art. She has received numerous grants and awards, including a 2014 Guggenheim Fellowship. Her work has been included in exhibitions at major institutions worldwide.
Dawoud Bey (interview) is well-known for his own work as a photographer and has been featured in numerous exhibitions, including a mid-career survey at the Walker Art Center, Minneapolis in 1995. He is a professor of art and a Distinguished College Artist at Columbia College Chicago.
Laura Wexler (essay) is professor and co-chair of the Women’s Faculty Forum at Yale University, as well as the founder and director of the Photographic Memory Workshop at Yale. Her books include the award-winning Tender Violence: Domestic Visions in an Age of U. S. Imperialism (2000).
Dennis C. Dickerson (essay) is the James M. Lawson, Jr. Professor of History at Vanderbilt University. He is the author of several titles focusing on American labor history and the civil rights movement, including Out of the Crucible: Black Steel Workers in Western Pennsylvania, 1875–1980 (1986).
"Yet despite its so-called transparency, Evans’s classic style of the ’30s is only as passive as the manner of the interrogator who lets silence do his work. It is, again, inquisitional. By declining to beautify or dramatize, each of Evans’s best photographs forces its subject to speak for itself, even to talk too much, until its vulgarity, pathos, tawdriness, hysteria–whatever its essential qualities are begin to yell from the page."
Photographs (in order): Interior Detail of a Portuguese House (1930), by Walker Evans; Rough Study for a Double Portrait (2009) by Lucas Blalock; No Vacancy (2012) by Lucas Blalock; Gothic Gate Cottage near Poughkeepsie (1931) by Walker Evans.
Photogrammar is a web-based platform for organizing, searching, and visualizing the 170,000 photographs from 1935 to 1945 created by the United State’s Farm Security Administration and Office of War Information (FSA-OWI).
An exhibition curated by Adam Kremer featuring Meg T Noe, Daniel Shea & Harry Gould Harvey IV
At Bad News at Black Bear Bar, New York
Opening reception Friday, September 5th from 7 - 10 PM.
Mute Annotations: Marks and lines and circles made within a text or page margin.
Picking and choosing, including and excluding, underlining and circling. Like a pencil’s mark singling out and pulling apart particular aspects of a piece of literature, the artists shown here participate in a selective relationship with guided narrative and symbols.
Gestural markings isolate and remove a point of interest from the greater idea of structured narrative, highlighting what might be truthful, or, once isolated, perhaps what isn’t.
Their image making processes create and destroy order within their narrative focuses, side stepping the tradition of directly representational documentation in favor of a more subjectively controlled direction.
We look forward to seeing you.
Jesper Elg, Mikkel Grønnebæk & Peter Funch
Download US press release and invitation card here
* Bad News is a new curatorial project space created by V1 Gallery and hosted at Black Bear Bar.
Bad News at Black Bear Bar.
70 N 6th St (btwn Wythe & Kent Ave)
Brooklyn, NY 11249
Yancey Richardson is pleased to announce Yours, more pretty, an exhibition of new photographs by Laura Letinsky, presented in conjunction with the release of the artistʼs fourth monograph, Ill Form & Void Full (Radius Books).
The exhibition includes the most recent works from Letinskyʼs on-going series, Ill Form & Void Full, which reflects on temporality and desire in the still-life genre, the self-referentiality of the photographic medium and the mutability of perception. Letinskyʼs ompositions utilize fragments from her own photographs and those of other artists like Richter or Matisse, as well as advertisements culled from magazines, dissolving the hierarchy between high and low imagery, and the notion of what is real and what is mediated. In addition, by using white as a color, the edges of paper as lines, and shadows as planes, Letinskyʼs compositions conflate flatness and dimensionality, upending the viewerʼs sense of space and perspective.