Wednesday, January 17, 2018

The Henri Cartier-Bresson Foundation moves to the Marais

Henri Cartier-Bresson, 1972 © Martine Franck/Magnum Photos

In the autumn of 2018, the Foundation created by Henri Cartier-Bresson, Martine Franck and their daughter Mélanie Cartier-Bresson will be opening a new space at 79 rue des Archives in the Marais district in Paris. The new premises, a former converted garage, will offer better options for exhibitions and conservation. At street level there will be more than double the floor space and more flexible layout, at street level. This together with improved archive storage and conservation conditions, and better facilities for researchers.
The space designed by architects from the Novo agency will make the Henri Cartier-Bresson Foundation part of the cultural densification of the Marais, Beaubourg and Les Halles areas, undoubtedly unparalleled in Europe.
The primary mission of the Henri Cartier-Bresson Foundation is preserving the heritage of Henri Cartier-Bresson and Martine Franck, and hosting and programming exhibitions of other photographers or artists using photography. The Prix Henri Cartier-Bresson, backed by the Fondation d’entreprise Hermès, is designed to support the creativity so precious to its founders.
With the expanded floor area, it will now be possible to offer a more active insight into contemporary experimentation, while pursuing the exploration of the history of the medium. The values of rigour, curiosity and creative freedom that characterised Henri Cartier-Bresson from his youth will continue to be the driving force behind exhibition choices.
An educational programme and international initiatives to promote the wider distribution of the two Henri Cartier-Bresson and Martine Franck funds and quality photography will be developed in the coming years.
To develop this project, François Hébel, former director of Magnum Photos and Les Rencontres d’Arles, founder of Foto/Industria Bologne and Le Mois de la photo du Grand Paris in particular, will be joining the Foundation’s team as managing director from 2 November 2017.
Agnès Sire, who has been responsible for the Foundation’s impressive development since it began, wanted to be released from its daily operation to devote herself to its artistic direction and curating exhibitions.
This duo has already had many opportunities to work together on cultural projects produced at Magnum in the 90s, for the group as well as for photographers individually.
You can go to The Henri Cartier-Bresson Foundation website HERE.

Monday, January 15, 2018

John Baldessari - making art look like it's not about skill

John Baldessari

The Metropolitan Museum of Art’s The Artist Project is a 2015 online series, supported by a Phaidon book, in which the museum gave artists an opportunity to respond to their encyclopedic collection.

I was drawn to John Baldessari's comments on Philip Guston’s 1973 painting, Stationary Figure.

It's macabre humour. It's a laugh that's also overshadowed by the thought of the brevity of life. A poetic mind would think that death is absurd and funny. There are elements of time: the light and the clock and the short duration of the cigarette. There's more light inside the room where he is than there is outside. It's like a prison cell.  He's almost in bondage with the bedclothes. - you might even call it a straightjacket. It's nightmarish, in some ways - being constrained and trapped in time. 

The painting is tough to like. I think that the average viewer is going to say. "Yeh my kid can do that." And that would be dismissive. I think it's brilliant: making art look like it's not about skill. He knew he was going to ruffle feathers and irritate people. I absolutely identify with his courage in doing that. It's one of the things I've always emphasised: don't be a virtuoso, and don't be a show-off.

I'll add to that - get up in the morning, go to your studio, make the work, chop the wood. 

You can see a video of Baldessari's comments HERE and go to The Mets The Artist Project HERE.

Philip Guston - Stationary Figure 1973

Friday, January 12, 2018

the-traveller - Taking the Long View

Löwenburger Hof - posted 31 October 2017

 In my last post I talked about the need for those of us working in art to take the long view, maintaining a practice which like wine in the cellar matures and should get better and build over time. 

Jens Sundheim and Bernhard Reuss are the-traveller and their collaborative practice is now in its 17 year. In every sense this is an art practise that takes the long view. Below is what they say about themselves...

Jens speaks: You can watch me.

For 16 years now I have been following the traces of public webcams: cameras installed in public or private spheres that automatically record images and spread them via internet.

I research where they are located, travel there, and get myself photographed. I was in New York and Moscow, London, Las Vegas and Singapore. I went to more than 700 webcams in 20 countries – so far.
In New York, I was taken in police custody after standing around in front of a traffic webcam, and was later interrogated by the FBI.

Once I arrive at a webcam location, I place myself in front of the camera. As »The Traveller«, I stare back into the cam. Same clothes, same pose, every time. Dark jacket and trousers, bright shirt and a shoulder bag. You can recognize me in every image. You can watch me.

Caught by the camera, I start a second, virtual journey. I travel to every web-connected device around the globe, visible to everyone who browses the corresponding website. I contact a photographer to save the transmitted image, before it is replaced by a newer one, and vanishes.

People notice. Sometimes, at least. They wonder what I am doing. Stare in the same direction as I do, trying to see what I see. Sometimes they ask me about it. Some got angry. But mostly they just seem puzzled for an instant, and carry on.

A lot of questions may arise. Who sets up these automated cameras, and why? What do they show? Are people aware of them? Who looks at their images? Does someone need these images? Does the presence of a camera alters a site? What constitutes a photographic image in terms of authorship or quality?

»The Traveller« project examines borders of private and public grounds, global spread of imagery between irrelevance, information and surveillance, and the aesthetics involved.

Among many other places, The Traveller encountered the legendary coffee machine world's first webcam was pointed at, the ESA European Space Agency main control room, a huge cactus observed by four cameras, numerous front gardens and backyards, and the inside of a New York police station cell - arrested for strange behaviour. 

Jens Sundheim
Born 1970 in Dortmund, Germany. Studied information science, then photography at University of Applied Sciences and Arts Dortmund, University of Plymouth in Exeter, England and HAW Hamburg. Based in Dortmund. 

Bernhard Reuss
Born 1966 in Wiesbaden, Germany. Studied photography at University of Applied Sciences and Arts, Dortmund. Numerous works with the camera obscura. Since 2006 engaged in a photography art space. Lives and works in Wiesbaden, Germany. 

You can go to the-traveller website HERE.

Bauakademie Oberösterreich - posted 29 September 2017

Wednesday, January 10, 2018

Making photographs - why and what for?

Harvey Benge - Auckland, January 2018

Influential writer, critic, photography professor Jörg Colberg in a recent post on his interesting, always provocative Conscientious Photo Magazine website discusses the danger of following trends in the photo world. Jörg talks about the current obsession with social media - facebook, twitter and Instagram with photographers hanging out for likes and forever keeping an eye on whose following who. And trolling the digital world to hook into what's hot and what's not. 

I liked Jörg's parting paragraph: With social media amplifying hot trends and quick, short-term success, it has become a lot harder to play the long game that artists really need to play. Even if you stay off social media, chances are your friends and colleagues will be on them... I don’t think such an approach works in your favour if you want to be an artist. After all, the one trend you really want to follow with as much dedication as possible is this one: what drives you, what provides your mental energy to pursue whatever it is you feel strongly you need to go after? Everything else is just a pointless diversion.

Jörg's piece made me think about why I make photographs. I do it because I love it, and because it's the most difficult thing I have ever done. I do it because I've met some amazing people in the photo-world, people whom I like immensely and who inspire me. 
I do it because it's my way of examining the world, asking questions and looking at my place in the scheme of things. I do it because I recognise the wisdom in Socrates statement - the unexamined life is not worth living. I do it for myself, for my own inner satisfaction. I do it because as Jörg identifies it's about the long game, a game that never ends because each image opens up the possibility of the next one. And occasionally I make a picture that's worth a second look.

I don't do it for fame or fortune. A like here or there. I don't do it to hang out with photographers with massive egos who can only talk about themselves. I don't do it to consort with shooters that mistake decoration for substance or worse still confuse clever with intelligent. I don't do it to learn from photographers who think that success is all about external gratification when it fact it's all internal - my head, my heart.

I like the Zen analogy of chopping wood, just get up in morning, metaphorically chop wood and make pictures. Finally I think we photographers should never forget how privileged we are to be doing what we are doing, particularly considering the dismal state of the world in so many areas.

You can read Jörg Colberg's full piece The Danger of Trends on the Conscientious website HERE. 

Harvey Benge - Auckland, January 2018

Sunday, January 7, 2018

London: Best photography shows for 2018

Pieter Hugo: from the series Hyena and Other Men

Sean O'Hagan reports in the guardian on London's unmissable photography shows opening this year. Below are just a few of O'Hagan's recommendations, you can read the full piece HERE.

The Hayward reopens after a two-year refurbishment with the first British retrospective devoted German photographer Andreas Gursky whose large-scale, minutely detailed images of workplaces, nightclubs and natural landscapes are made with computer-enabled post-production techniques. His digitally altered landscape, Rhein II, sold for £2.7m in 2011, the most expensive photograph ever. Love him or hate him, his image-making has attained a new resonance in our post-truth world.  25 January-22 April, Hayward Gallery.

At The Barbican, Another Kind of Life: Photography on the Margins - In this group show tracing aberrant and outsider youth cultures since the 1950s, the themes are gender, sexuality, drug-taking, gangs and rebellion. A chance to see Bruce Davidson’s seminal series Brooklyn Gang, alongside Jim Goldberg’s Raised by Wolves, a visceral chronicle of homeless teenagers on the streets of Los Angeles and San Francisco. Pieter Hugo, Dayanita Singh and Mary Ellen Mark also appear.  28 February-27 May, Barbican, London.

Magnum Print Room, a solo show for the maverick French photographer who specialises in performative photography, often of a transgressive nature. Here, a selection of self-portraits spanning the last 30 years is exhibited alongside more recent work made in Mexico that traces his sexual and narcotic encounters with those living on the margins. Visceral, disturbing and, for some, ethically questionable, D’Agata’s work is wilfully confrontational. 22 March-30 April, Magnum Print Room, London.
 Antoine d' Agata: Marseille, 1997

Thursday, January 4, 2018

Michael Dalton - THE GREAT FALLS

THE GREAT FALLS is photographer Michael Dalton's first photobook. Dalton has produced a significant series of quietly heartfelt pictures that speak of human frailty, loss and the truth of impermanence. In this photographic requiem Dalton has found poetry in the abandoned and beauty in the overlooked. Throughout the book the Passaic River and its Great Falls provides a counter balance to man's fallibility and is a metaphor suggesting hope. There is a chance that things will work out in the end. Life continues. 

Michael Dalton grew up in New Jersey and in The Great Falls, he depicts a city – a park, a waterfall, a derelict stadium, a model home, and the people that remain after the industry leaves – with a sense of familiarity and reverence. Dalton’s images include landscapes, cityscapes, and portraits of couples that represent a pride and resilience found in communities that are forced to adapt. The solemn grandeur of the waterfall ennobles Dalton’s work, which explores common American themes of perseverance, reclamation, and escape. 

With his particular use of imagery and sequence, Dalton creates a stage in which he deploys common archetypes found within cities of the Northeastern United States. While the specificity of place is not important to the central themes of the book, the indelible waterfall of Paterson, the constant guardian of the park, remains a reminder of what William Carlos Williams saw as the “catastrophe” in ones life (Book Four, Paterson). The waterfall and the river, in their course to the sea, mash together, become something new, and add to the larger sphere of existence. This is perhaps a reflection on the evolving function of faded industrial cities like Patterson in the modern world. Navigating these themes, The Great Falls is at once a personal record and a social document: an artist’s view of a place that has a fascinating history and social complexity.

Susan Lipper introduced me to Michael Dalton at Paris Photo back in November. Michael showed me THE GREAT FALLS - the book, the work impressed me. Was delighted when a copy showed up in my mail box a day or two ago. Thank you Michael. 

THE GREAT FALLS is a hardcover book, 23.5 x 28.5 cm, 120 pages with 54 photographs.

You can get yourself a copy of THE GREAT FALLS by going HERE. And you can go to Michael Dalton's website HERE

Sunday, December 24, 2017

It seems photographers are desperate to learn about photobook editing and sequencing!

My blog has just clicked over 1 million pages views. My first post was in May 2007 and I've made 1,338 posts since then. 

The most read post, was published in March 2012. I wrote about my take on photobook editing and sequencing. With 18,232 page views, I thought it worthwhile to reprise...

Here goes:  Anybody who has ever made a photobook has started out with a system, a methodology of going about it. A way of (hopefully) making it brilliant. Much has been said about this subject and guidelines laid down by people who know more than most.  Think Gerry Badger and John Gossage. Yet still, why is it that so many photobooks I look at just don't cut it?

Right now I'm in the process of editing, sequencing and designing a new bookwork so this post is really written to myself, a reminder of things I must remember not to forget. I've written about this before but the fundamentals can bear repeating over and over again...

You can read the complete piece HERE