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Posts tagged: fine art photography

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.”

The fantastical world of Luigi Ghirri

Luigi Ghirri

Luigi Ghirri

The art of order is imperative to the human condition. We appreciate the beauty and simplicity of everyday life: rows of trees and pots placed in unison; pastel-hued doors and shutters built in perfect form; white walls, white gates and white fences guarding our homes and the contents within.

Pioneer Artist & Model Ming Smith Reflects on a Life in Photography

Ming Smith. Grace Jones at Studio 54, 1978
archival pigment print, 30 x 40 inches

Ming Smith. Sun Ra Space II, New York City, NY, 1978
archival pigment print, 40 x 60 inches

In 1974, at the age of 23, Linda Goode Bryant opened Just Above Midtown (JAM), a non-profit New York arts organization dedicated to showing the work of artists of color in the heart of 57th Street, then the capital of the art world. Rent was a astonishing $300 per month, the 70% discount a testament to Goode Bryant’s negotiating prowess.

Like Goode Bryant, JAM was a revolution unto itself, with the intention to burn the art world down to the ground. JAM pioneered the works of now-renowned Black artists including Dawoud Bey, Norman Lewis, Senga Nengudi, Lorraine O’Grady, Howardena Pindell, Lorna Simposon, and Ming Smith — all of whom are being show at Frieze New York (May 2-5) as part of a special tribute to Linda Goode Bryant’s JAM Gallery from the 1970s.

The 2019 Frieze Stand Prize was awarded to Jenkins Johnson Gallery for their presentation of the work of photographer Ming Smith, whose contributions to the medium have recently come into clear focus. Hailing from Columbus, Ohio and educated at Howard University, Smith moved to New York in 1973 to live as an artist. To support herself, Smith joined the ranks of Grace Jones, Bethann Hardison, B. Smith, Sherry Bronfman, and Toukie Smith as the first generation of Black women to break the color barrier in the fashion and beauty industries,

Fashioning the Feminine Ideal in the Photos of Martine Gutierrez

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 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.

In Life / Like: Photographs by Martine Gutierrez, now on view at Mount Holyoke College Art Museum through June 16, 2019, Gutierrez takes us deep insider her magical world, where hair and make up, costume and set, lighting and casting combine the pleasures of cinema, fashion, and design.

Featuring works from the series Girl Friends and Line Ups, Gutierrez surrounds herself with mannequins, taking playing with dolls to exquisite new heights. “Mannequins very succinctly represent the artificial, especially in materiality, when compared to the imperfect reality of the human body,” Gutierrez has said. “But in coaxing the viewer’s misinterpretation, misleading with light and guise, I am looking for the place where those two worlds meet.”

An Exquisite Study of the Sacred Feminine Realm, in Photos

For Mona Kuhn, the female nude is a vessel, a path, a portal to transcendence between the physical and spiritual planes. Liberated from the earthly draw of desire, it transforms from object to subject, to a state of becoming that is only possible when one is the protagonist of their own story and their own lives.

In She Disappeared into Complete Silence (Steidl), Kuhn takes Paul Nash’s Landscape from a Dream (1936-38) as her departure point and delves into the realm of photography to explore the surreal, symbolic realm of the California desert landscape, her model Jacintha, and elements of architecture to organize chaos. It is here that Kuhn embraces the space where light and shadow engage in exquisite interplay across a myriad of surfaces so that air becomes perfumed and potent, almost tactile itself. Light moves through these images like the hand of God, liberating us from the demands of the world and allowing us a moment of peace in our noisy and tiresome world.

Magical Photos of Childhood Summers in a Small Austrian Village

Alena plays with a cat and a cow. Merkenbrechts, August 2013

Victor is enjoying his mother’s legs. Merkenbrechts, July 2018

In her project I am Waldviertel, Dutch photographer Carla Kogelman travels to the Austrian region of Waldviertel to the small village of Merkenbrechts, population less than 200. Here, Kogelman transports us into an eternal moment of fleeting childhood summers, a moment where time eclipses in that it is both fast with outdoor adventure, and slow with restless boredom—imagination and play often being its only respite.

An Exhibition of Portrait Photos with a Surreal Twist

Time Dilation © Amelie Satzger

Femme Fiction #1 © Lauren Menzies

In conjunction with the Fourth Annual Feature Shoot Emerging Photography Awards, United Photo Industries (UPI) in Brooklyn, NY is showcasing the work of two awardees: Amelia Satzger and Lauren Menzies. These two artists were selected by Laura Roumanos, who is executive producer and co-founder of UPI and one of the jurors for the award. With United Photo Industries having a mission to exhibit thought-provoking and challenging photography, Roumanos has certainly chosen two artists whose work encompasses the organization’s ideals in ways that are both complimentary and striking in their contrast.

The Brooklyn Artist Reconnecting with Her African Roots

Blue Like Black, Argentina, 2018

Still from video short “the cleanse” 2017

Born in Crown Heights, Brooklyn, Adama Delphine Fawundu is the only first first-generation American of her siblings. Her brother and sister were born in Freetown, Sierra Leone and lived there until 1975, when Fawundu and her mother returned to bring them to the United States.

Fawundu would not return again until 1992, at the age of 21, during the Christmas holidays, during the first year of a decade-long civil war. Though she was unable to return to her homeland, Fawundu traveled the continent, visiting South Africa in 1995, early in Nelson Mandela’s presidency, as well as Ghana and Nigeria. And when she finally could come home, she brought two of her sons, then ages ten and seven, to create the foundation for a lifelong connection to the motherland.

Embracing the power of connection, Fawundu takes an expansive, inclusive approach, personifying the water spirit that connects Africa and its Diaspora using photography and film. In The Sacred Star of Isis, now on view at Crush Curatorial in New York through April 6, Fawundu travels the globe to create images from the New York State forests and the waters of the coast of Freetown, Sierra Leone, to cities within Argentina, a place known to systematically attempt to erase its Black presence.

The exhibition includes “the cleanse,” Fawundu’s first film — a glorious celebration of rhythm and ritual contained in the moments when Fawundu places her perfectly pressed tresses under the shower and begins to wash her hair, an incantation filled with magic, power, and wisdom. Here, Fawundu shares her journey creating The Sacred Star of Isis.

Behind-the-Scenes with a Photographer Who’s Helping to Reshape the Industry (Sponsored)

In our increasingly image-saturated world, Carmen Chan‘s photographs feel like a breath of fresh air. Before settling in Los Angeles, the photographer worked in New York City and Hong Kong, refining her aesthetic and her voice across the fashion and editorial world. While tackling projects for major brands and publications, she sets herself apart with her effortlessly clean and natural style. Her approach to color and form results in images that feel breezy, uncluttered, and full of energy, and she has a way of tapping into the most authentic aspects of her subjects, whether they’re models and celebrities or interiors and cities.

As a leader in her field, Chan understands the importance of carving out a better future for other artists, and she’s not afraid to speak up about the need for more diversity in the industry. Today, the award-winning photographer has established herself as a force to be reckoned with, both as an artist and a businessperson, landing coveted assignments and supporting her peers along the way.

Chan’s Squarespace website reveals an eye that is at once modern and classic, whether you’re browsing her travel journal or a collection of her intimate portraits. She also created a blog to take us behind-the-scenes on some of her shoots and a quarterly newsletter to keep clients and followers informed about new projects. We talked to Chan about her online presence, her favorite kinds of projects, and her advice for emerging photographers who hope to follow in her footsteps.

Tabitha Soren Traces the Trails We Leave on Touch Screens

Emailed JPEG Kiss Goodnight. 30″ x40″, 2014

thegavoice.com/community/features/pride. 30″ x 40″, 2018

In our increasingly pixilated world, we are known by the trails left behind — the smudges made by incessant pawing at our digital devices all day and night. With the quick whip of the wrist, we wipe all traces away before starting anew, our attention glued to the images and words illuminated by a flickering light that sends us down endless rabbit tubes.

Time slips away until we surface once more, the remains of our journey reduced to mere streaks — subject in and of itself that fascinates photographer Tabitha Soren. In Surface Tension, the former television journalist positions herself on the other side of the camera and looks at the very apparatus of content consumption itself — the screens our fingers feast upon as we travel at the speed of swipe.

Now on view at the Davis Museum at Wellesley College in Massachusetts through June 9, 2019, Surface Tension is a curious, lyrical ode to one of the most visceral of all senses we hold. Here, touch is both sacred and profane, a base, coarse reminder of our physicality and a symphony of gestures made over a period of time, indicating a desire for more content, more stimulation, more entrée into an invisible, nebulous realm that we can never know beyond the appearances we voraciously consume.

In advance of her April 17 artist talk, Soren shares her insights into the nature of the image and the ways in which it adapts to the plasticity of a digital world that feeds on our desire to look.

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