Posts by: Miss Rosen

David LaChapelle’s Stunning “Letter to the World”

State of Consciousness, 2018 Impression pigmentaire/ pigment print. 163 x 111 cm

A New World, 2017
Impression pigmentaire, negatif peint a la main / hand-painted negative pigment-print.
162,2 x 242,5 cm

“By three methods we may learn wisdom,” Confucius observed. “First, by reflection, which is noblest; Second, by imitation, which is easiest; and third by experience, which is the bitterest.”

In the 2,500 years since Confucius wrote these words, his observation of human nature has been proven true countless times — but time is now working against us, as the first fifty years of the Antropocene Era dauntingly reveal. We see it unfolding before our very eyes, but we are far too deep in the thick of it to pull ourselves free, as all systems of progress are moving toward the future as though it were a fait accompli.

Yet there is always possibility embedded in the existence of hope, of the final force unleashed from Pandora’s Box. It is how we move forward despite what foresight suggests in the study of the human condition and the prophecies that it brought forth. It is the answer when there is none. A flash of light in the darkness to remind us, all has not been lost. It is the spark that shines and reflects: there is a better way.

A Breathtaking Portrait of Women Amid a Primordial Landscape

From Where We Came


“At dusk and dawn, the edge of slumber and first light, these figures awaken out of the darkness and live in the hours when others dream,” LilIi Waters writes in the artist statement for her disquieting series, Others Dream, which features women amid an otherworldly landscape that is equal parts foreboding and curious.

Photographed across Western Australia, the images from Others Dream offer a mystical, mythical portrait of the primordial essence of life that begins in utero before being launched upon the earth. They offer themselves as wordless poems, silent revealing secrets to us, offering a moment of meditation where we can escape the artifice that civilization demands and return to something infinitely simpler albeit impossible to fully comprehend.

Here Waters shares her journey, revealing the path that brought her to the creation of this body of work, offering insight on the effortless synergy of life and art.

Inside Chris Stein’s Punk Photo Diary

Snuky Tate, Fab 5 Freddy, and kid punk band the Brattles, 1981. The Brattles opened for the Clash at their New York City show at Bonds on Times Square.

Brooklyn’s own Chris Stein took up photography in 1968, at the age of 18, and began to amass a body of work documenting New York life as the punk scene came into existence. In 1973, he met and began working with Debbie Harry, and together they founded Blondie. From this rarified position, Stein had the best view in the house, the consummate insider in the quintessential outsider scene.

His new book, Point of View: Me, New York City, and the Punk Scene (Rizzoli New York), is a visual diary of daily life during the 1970s, the rawest decade of them all. Stein takes us all the way back to his days as a student at SVA, and gives us a guided tour of a young artist coming of age in a city that was equal parts decadent and derelict, and home to characters like none before or since, be it William Burroughs, David Bowie, Divine, Andy Warhol, or the Ramones.

Eugene Richards Looks Back at a Life in Photography

Eugene Richards, Snow globe of the city as it once was, New York, New York, 2001.
Gelatin silver print. Collection of Eugene Richards.

Eugene Richards, Grandmother, Brooklyn, New York, 1993.
Gelatin silver print. Collection of Eugene Richards.

More than half a century ago: the New Journalism came of age — a style of reportage so wholly unlike what came before that made it clear the seeming “objectivity” espoused by the Western eye was blind to its own innate biases. Rather than continue to presuppose one could be disinterested in covering subjects like Civil Rights and the Vietnam War, many journalists took a stand, opting to explore the complex truths of human life during the final half of the twentieth century — including their own.

Like W. Eugene Smith before him, photographer Eugene Richards (b. 1944) used the photo essay as a means to engage with his subjects through the profound transformation that comes when human beings not only connect, but are seen, heard, understood, and able to share their lives in a holistic way.

Throughout the course of his career, Richards has focused on the essential experiences of life that are daily fodder for headlines including birth, death, poverty, prejudice, war, and terrorism. But through Richards’s lens, we come to understand just how little we know — and how deeply reliant we are upon those who do the reporting in our stead.

In Eugene Richards: The Run-On of Time, now on view at the International Center of Photography through January 6, 2019, we are given a stunning trip through Richards’s life in photography. The exhibition and accompanying catalogue distributed by Yale University Press serve to remind us that we are responsible for evaluating not only the content but also the quality and caliber of the source itself. It is not enough to be talented and to have mastered technique; one must stand for something, and in doing so, use their skills in the service of the greater good.

Here, Richards shares his extraordinary journey, that includes a healthy dose of skepticism about the photograph itself.

Picturing the Horrors of Climate Change in Southern Iran

Pitgy is a village in the Jazmurian section in the southern Rudbar. A man carries a big tree to his house. He will make fences with this tree.

Village of the galo: The central part of Qaleh Ganj city, Kerman. The trees of the village are dried and their water reservoir is ruined.

As climate change ravages the globe, we bare witness to one of the greatest human-made catastrophes as it unfolds before our eyes in a series of increasingly inhospitable weather patterns that are decimating the landscape far and wide.

In Iran, climate change has taken the form of a drought, one that affects several regions across the nation including West Azarbaijan Province, Khorasan Province, Bushehr, and Kerman Province, where the drought is now going on 30 years in length. Encompassing 11.5% of the country’s landmass and 3.9% of its population, the drought has presented a larger problem in recent years as lowered rainfall has resulted in thousands of dried up wells. The native economy has taken a hit, as local farmers are no longer able to sustain their palm tree crops. Without income, the people now face a new series of challenges including lack of health care facilities and adequate plumbing to fend off disease.

Documentary photographer Mohammad Baghal Asghari traveled to the Kerman province during ten days of Iranian New Year, creating Forgotten Dried Land, which was nominated for the 2018 International Photogrvphy Grant. Here Asghari shares his observations photographing the plight of people living through the dawn of the sixth major mass extinction on earth.

A Photographic Duet of Flesh & Spirit, Earth & Animal

© Antoine D’agata

© Emmanuel Monzon

Consider our propensity for seeing duality everywhere we go, on a quest to reduce the dialectic to a conversation centered in an “either/or” proposition as though half is greater than the whole. One of the primary flaws of binary thought is the way it triggers a hierarchical impulse that is patently false. It is neither “either/or” but “and” — the perception of the holistic nature of the universe.

On the whole, this takes more effort to assert, to swim against tides that define our radically polarized times. Sometimes it’s less an effort and more a response to what already exists. For French photographers Antoine D’agata and Emmanuel Monzon, this dynamic revealed itself in the exhibition of their work by Charbon Space in Fine Art Asia 2018.

In the photographs of Antoine D’Agata, the very fabric of the flesh becomes a radiant field of energy, at once murky and diaphanous as though we might dissolve and disintegrate into our spiritual essence for a taste of eternity. In D’agata, we feel an insistent intensity, the impassioned whisper of a wordless truth that knows that pain and pleasure exist like the ouroburo, a snake eating its tail.

A Polar Expedition to the Very Last Frontier, in Photos

Yamal Peninsula April 2018 © Yuri Kozyrev / NOOR pour la Fondation Carmignac. The Arctic Gate terminal is located in the Gulf of Ob, near Cape Kamenny (Russia). The first oil barrel was shipped out from the terminal in 2014, and winter out-shipments started in 2015. It was launched as part of the Novy Port oil field development.

Point Hope, Alaska, Arctic, May 2018 © Kadir van Lohuizen / NOOR for Fondation Carmignac.  A whale hunter is on the outlook to track Bowhead whales. The Point Hope native community can catch 10 bowheads a year.

We might wish to bury our heads in the sand as the forces of climate change push the survival of the planet towards the precipice, comforted by a faith that ignorance can protect us from all that we sow — either unable to accept reality or overwhelmed by the fact that these changes are now unstoppable, and we are ill-prepared to meet the challenges they bring. The fate of the planet lies in the hands of those who set policy — but often we don’t see what is happening until it is much too late. Enter photojournalists Yuri Kozyrev and Kadir van Lohuizen.

As recipients of the ninth annual Carmignac Photojournalism Award, which supports the production of photographic reportage on subjects concerning environmental and human rights issues around the world, Yuri Kozyrev and Kadir Van Lohuizen went to the end of the earth to document the last frontier — and the devastation being reaped in the name of “progress” and “civilization.”

The results of their work can be seen in Arctic : New Frontier – A Double Polar Expedition, on view at Cité des sciences et de l’industrie in Paris through December 9, 2018 – revealing the devastating, irreversible effects of climate change on the ice caps, as a direct result of the impact of large-scale industrialization and militarization. A book of the same name has just been co-published by Reliefs and Fondation Carmignac. 

Fashioning A New Visual Language at the Photo Vogue Festival

Omari © Kyle Weeks, from Embracing Diversity

From the series Two Figures In A Room © Katie Burdon, from Embracing Diversity

The intimate grandeur of the fashion photograph allows the worlds of fantasy and reality to mix and mingle across a two dimensional surface. It is here, in the construction of beauty, glamour, and style that we discover the space where iconography ascribes to the ideals of the culture from which it comes, fusing tradition and innovation into a glorious new visual language that exists in equal parts for consumption and contemplation.

In the third annual Photo Vogue Festival, held in Milan from November 15-18, 2018, the conversation around fashion photography is centered in a fresh look at masculinity, diversity, and new technologies in three beautifully curated exhibitions, as well as a host of programming.

Chaired by Emanuele Farneti, editor-in-chief of Vogue Italia and L’Uomo Vogue, and directed by Senior Photo Editor Alessia Glaviano, the Photo Vogue Festival presents All that Man Is – Fashion and Masculinity Now and Embracing Diversity, both at Base Milano, as well as Sølve Sundsbø: Beyond the still image at the Palazzo Reale, which continues through December 9.

A Portrait of the Amazon on the Brink of Catastrophic Change

March 29, 2014. A group of boys climb a tree on the Xingu River by the city of Altamira, Para State, Brazil. Major areas of the city have been permanently flooded by the construction of the nearby Belo Monte Dam Complex displacing over 20,000 people while impacting numerous indigenous and riverine communities in the region.

November 26, 2014. Members of the Munduruku indigenous tribe walk on a sandbar on the Tapajos River as they prepare for a protest against plans to construct a series of hydroelectric dams on their river in Para State, Brazil. The tribe members used the rocks to write ‘Tapajos Livre’ (Free Tapajos) in a large message in the sand in an action in coordination with Greenpeace. After years of fighting, in 2016 the Munduruku were successful in lobbying the government to officially recognize their traditional territory with a demarcation. This recognition forced IBAMA, Brazil’s Environmental Agency, to suspend the environmental licensing process for the 12,000 megawatt Tapajós hydroelectric complex, due to the unconstitutional flooding of their now recognized land.

The mouth of the mighty Amazon River lies in the state of Pará, Brazil, which has been home to the people of the rainforest for over 5,000 years. During the 1960s, the government created the nation’s very first Indigenous Park, which was, at that time, the largest preserve in the world.

Home to 14 tribes that survive off the land, Xingu Indigenous Park became the site of controversy when the government began to develop plans for the Belo Monte Dam Complex on the Xingu River in 1975. In 1989, the Kayapo, a warrior tribe, mounted a massive campaign in opposition to the construction. International financers pulled out, and the project was shelved until 2007, when President Luiz Inácio Lula da Silva announced the Accelerated Growth Program.

Positioned at the forefront of construction of more than 60 major hydroelectric project in the Amazon over the next 15 years, Belo Monte is poised to become the fourth largest dam in the world — displacing up to 40,000 people living in the park while destroying the complex ecosystems in order to fuel continued mining of the rainforest.

In his series, Where the River Runs Through, which was chosen for the Critical Mass Top 50, photographer Aaron Vincent Elkaim presents Where the River Runs Through, a profound portrait of the people and the landscape at the precipice of a massive change whose impact on the indigenous communities and the environment are devastating. Elkaim shares his insights into the impact of industry on the earth.

Scenes from Whitby Goth Weekend on the British Shore

The town of Whitby is perched upon the British shore, overlooking at Gothic ruins of a Benedictine abbey, which itself sits upon the site of an ancient Saxon structure. It is the quintessential Gothic locale, steeped in history. It was here that Bram Stoker stayed, in a house with a view of it all — the dramatic remains of the Catholic order long abandoned to Anglican designs, the perfect setting for a blighted sky, as storms whipped across the coast and on to shore, filling the Irish theatrical manager with the perfect setting in which the undead would rise at night with a taste for blood, eager to feast on the innocent of Victorian England.

Invariably such a setting couldn’t help but continue to attract the romantic of heart driven to embrace the dark and that resides within the spaces that we can touch but never see. It is in this space that the occult may manifest among those receptive to its charms, those who see it not as good or bad but as realm all its own. It is here, in this magical sublime that the dark glamour of Stoker’s Dracula has found expression in Goth subculture that first emerged in Britain during Thatcher’s reign.

Hailing from the Midlands, Lancashire, and Yorkshire, the Goths became inspired by their working class roots, embracing “Edwardian” dandyism combined with the literary styling of Stoker, Lewis Carroll, and Edgar Allen Poe, then turned it up to 10 with ‘80s bands like Siouxsie and the Banshees, Bauhaus, and Sisters of Mercy to create a wholly new style and subculture that still goes hard today.

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