Sarah Pannell captures the beauty of everyday life in Iran

A man is laying comfortably on a Persian carpet – his arms folded gracefully, while the soft, hazy daylight peeks through the window. Another scene sees an array colourful fruits and bread artfully cut and spread out on a piece of linen.

Elsewhere, there’s a tree painted gold, a woman taking a selfie during a vibrant light display, and a landscape so beautifully stark that it’s surprising to see any form of the manmade, let alone a road rippling through the hillside like a fierce stream of lava.

These scenes are taken from Tabriz to Shirazthe debut book by Melbourne-based documentary photographer Sarah Pannell. On two occasions in 2016 and 2017, she went sofa surfing across Iran and collated a dynamic series of photographs captured during her journey.

Michael Wolf’s homegoing comes after sunrise

When German photographer Michael Wolf died in Cheung Chau, Hong Kong, on April 24 at the age of 64, he left behind a prodigious body of work that spans 25 years as a photojournalist. Wolf spent the majority of his career in Asia creating work that defies easy categorization. Rather, Wolf moved as an outsider would, discovering value in the overlooked, mundane details of life and uncovering a deeper symbolic connection to the larger world.

Best know for the series Architecture of Density, Wolf responded to Hong Kong’s skyscrapers as abstractions, finding the beauty that lay within these brutalist blocks of architecture. His was an understanding of life in the city and its impact on the way we see, think, and relate to ourselves, each other, and to the earth.

Wolf’s final book, Cheung Chau Sunrises (Buchkunst Berlin, released earlier this year, presents a series made over the bay in Hong Kong where he lived. The series offers a powerful couunterpoint to his previous work, which addressed the environmental and economic impact of mega-cities.

One Photographer Captures the Resilience of Nature (Sponsored)

This post is brought to you by our friends at Squarespace, the all-in-one web hosting platform perfect for photographers.

Raised in Barcelona and based in Berlin, the photographer Silvia Conde has explored some of the most pristine locations on the planet. Scrolling through her portfolio feels like stepping back in time. From dreamy landscapes to analog portraits, her sun-drenched images remind us of our enduring connection to the environment and the importance of protecting it for generations to come.

Conde’s body of work represents a modern-day Garden of Eden. She’s created a beacon of hope for the environmental movement, a lasting tribute to the resilience of nature in a world where almost everything seems disposable. And with Squarespace as her website builder, she’s also created something else: a lush and dynamic digital space that captures the breadth and beauty of the natural world.

We spoke with Conde about her commitment to making art that makes a difference and the one-of-a-kind website she created to showcase it all.

The red-blooded American male, redefined

AMARI, Mount Dora, FL, 33yo. Meet Amari. Amari has one of the biggest hearts of anyone I’ve met. He’s a family man and gave birth to two of his kids before transitioning. It was of equal importance to him to have his own babies as it was to transition.

THOMAS, Athens, GA 27yo. Thomas is strong willed and determined. We’ve spoken as length about a lot of the difficulties he’s encountered being trans and from a small southern town. From getting and holding down jobs to fair treatment from law enforcement, the struggles are real. Despite this, Thomas has fierce determination to continually rises above and channels a lot of his energies into his music and creative pursuits. He’s a beautiful soul both inside and out and has become a great friend.

RUFIO, Atlanta, GA 27yo. Rufio! What an amazing bundle of body building bear like brilliance! Rufio is so full of life and spirit. He’s also a staunch feminist, especially with his experience of white male privilege that came with passing.

“When I started to pass as a man and was stealth, I got white male privilege and I was pissed!” Rufio, 27, reveals in a quote accompanying his topless portrait in Soraya Zaman’s new book American Boys (Daylight). Appearing fully nude in the book after six years on testosterone, Rufio’s portrait fearlessly acknowledges the power that gender in all its complexity and nuance holds.

In a world where binaries are heavily enforced and rigidly policed, Zaman sees her subjects as they are, establishing a profound level of trust with her subjects who reveal their deep, inner selves in a series of portraits and personal quotes, which, when taken together offer a multi-faceted look at our ideas around masculinity in America today.

“I don’t think anyone on Earth is a man or a woman, it’s a reference point,” Elias, 28, says. “Language is a tool but we get so accustomed to using the tool that we start to think it’s dictum from God. It’s like first language existed and then we existed. But no, things exist and then we give them a name and in turn we get overly attached to their definition.”

William Klein pays homage to the medium of photography

William Klein – New York. Atom Bomb Sky, 1955.

William Klein – Tokyo.
Dancers interpret Genet’s Notre-Dame-des-Fleurs in street of small offices, 1961.

William Klein – Moscow. Bikini, Moscova river’s beach, 1959.

A William Klein photograph is immediate, visceral, and intense. It will have you rooted then falling through a rabbit hole in the space/time continuum, Sure you’ve seen these photographs before — how do they stay fresh? How has Klein mastered the form so profoundly that you can see the ripples of influence, his style so transformative and informative that it’s syntax has become common parlance?

The answer lies in Celebration (La Fabrica), his latest book. The photographer, now 91, looks back over his life’s work and selects his favorite works in homage to the medium he loves. Traversing New York, Rome, Moscow, Madrid, and Paris, Klein’s choices are a revelation of the man behind the lens, the one in search of the electric sensation of being alive and forever paying it forward.

“Here is my preface for Celebration, with photos like Proust’s Madeleine. Is that a good idea?” Klein asks, ever forthright, with the understanding that to venture backwards can offer a thousand sensations and memories, the least of all for the artist himself.

Carrie Mae Weems Presents a Visual Symphony in Five Parts

Carrie Mae Weems, Slow Fade to Black (Nina Simone), 2010. 

Carrie Mae Weems, Color Real and Imagined, 2014.

Carrie Mae Weems, Anointed, 2017.

When Carrie Mae Weems made The Kitchen Table Series in 1990, she centered the intimate lives of Black women on the world stage, asserting the importance and impact of these tender moments of family and self-love at the very heart of her photographic practice. Her self-portraits were constructions of intergenerational experiences rooted in knowledge of self and the power of identity when made visible and centered as the basis for a work of art.

Weems’s practice in one rooted in knowledge of self, of the visceral need to create art and share it with the world. It is something that is done for the act, rather than the ends — and in this way it withstands the test of time, never falling prey to fads or trends.

“I don’t make work for the market. I create out of necessity, and so in one strange way, if we were to look at how my work might be received at Sotheby’s or at Christies when it goes up to auction, there’s frankly very little interest in my work,” Weems reveals in an interview with canadianart. “It has been historically undervalued. I think that most people are interested in beautiful things that don’t necessarily cause them to think very deeply about any one thing.”

Hippies, Hells Angels, and the Avant Garde: A Look at Irving Penn’s American West

Irving Penn. Early Hippies, San Francisco, 1967
platinum palladium print mounted to aluminum, image, 19 1/4 x 21 7/8 inches paper, 22 x 24 7/8 inches, mount, 22 x 26 inches, No. 109604.04

Irving Penn. Hippie Family (Kelley), San Francisco, 1967
gelatin silver print, mounted to board, image and paper, 18 1/8 x 16 7/8 inches, mount, 23 x 23 inches, No. 109603.02

Picture it: San Francisco, 1967. Irving Penn, now 50, finds himself in San Francisco photographing hippies, Hells Angels, and members of the Dancers Workshop of San Francisco who performed nude just as the Summer of Love was heating up. It was a testament to Penn’s commitment to the cutting edge, to picturing the vanguard from the other side of the camera lens.

“In 1967 there was word coming out of San Francisco of something stirring—new ways of living that were exotic even for California,” Irving Penn is quoted as saying in Worlds in a Small Room (Grossman, 1974).

“People spoke of a new kind of young people called hippies, and of an area where they had begun to congregate called Haight-Ashbury. They seemed to have found a satisfying new life for themselves in leaving the society they were born to and in making their own. It grew on me that I would like to look into the faces of these new San Francisco people through a camera in a daylight studio, against a simple background, away from their own daily circumstances. I suggested to the editors of Look magazine that they might care to have such a report. They said yes— hurry.”

Poignant Photos of Rescued Farm Animals in Their Twilight Years

Violet, a potbellied pig, age 12. Born with her rear legs partially paralyzed, Violet was surrendered to a sanctuary because her guardian could not properly care for her special needs.

Blue, an Australian Kelpie rescue dog, was a companion for 21 years.

Babs, a donkey, age 24.

Babs, a donkey, spent seventeen years of her life at a cattle ranch, where ranchers used her for roping practice. “Roping involves electrically shocking a donkey to make her run, chasing her on horseback, and then tossing a lasso around her neck or rear legs to pull her to the ground,” the photographer Isa Leshko writes in her book Allowed to Grow Old. “Donkeys endure this practice repeatedly until they are exhausted, maimed, or killed.”

Rediscovering Garry Winogrand’s long forgotten color work

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 more than 45,000 color slides, socking away tens of thousands of unprinted images when he died. The Bronx native came from humble working class roots, where the journey — and not the end — was the purpose of his work. Winogrand photographed, and left an archive behind of the world seen through his streetwise eyes.

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.

As the exhibition reveals, color was an ace in Winogrand’s hand. He was thoughtfully attuned to the vibrations that color imbued the image as a whole — as well as the way it enhanced our experience of the objects themselves. In his hands, color becomes a poem, a sonnet, an ode, a diddy bop that you can imagine Winogrand whistling while he worked making these photos.

American photographer Kellie Klein reflects on the restorative power of water and its relation to human emotion

Kellie Klein

Working with a wide range of techniques that go from nineteenth century printing processes like the cyanotype and Van Dyke brown, to current day digital manipulation, Kellie Klein’s photographs are an irresistible invitation to doubt about the very truthfulness of our perceptions.

With her eerie scenes, clever use of negative space in her compositions, a fondness for depicting sometimes indistinguishable, blurred elements, Klein paints meditative and metaphorical images that pose to the viewer as a question, never as an answer.

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