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Image: Dominick Spolitino
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ASMP NewsFeed. Keeping You in the Know.
With all that is happening in the world around us, we know that you don’t always have extra hours in your day to catch up on the latest news from the myriad of information sources available today. Curated by former ASMP National Board Member and Contributing Editor Barry Schwartz, the ASMP NewsFeed brings you current articles related to the business and art of photography published in diverse arenas in one single post, so you can peruse and read about a topic that might be of personal or professional interest to you.[/vc_column_text][divider line_type=”No Line”][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default”][divider line_type=”No Line”][vc_column_text]
Islands of Milk and Honey, Bingo, Blood, and Protest
Cross-posted from blind. [By Colin Pantall] “At Bristol Photo Festival, the exhibition entitled “Island Life” is a collection of photographs by some of Britain’s great post-war photographers. Does it make sense? Does it have to?”
“Embedded in “Island Life” are changing ideas of what documentary can be (and perhaps this could be highlighted more) and a potted social history of the British history over the last 80 years. There are the lush colours of John Hinde’s brilliant promotional pictures for Butlin’s Holiday Camps, pictures that catch the postwar working class optimism of the country. There are Sunil Gupta’s images examining what it is to be a gay Indian man, class is directly or incidentally referenced in images by Karen Knorr, Daffyd Jones, and Richard Billingham, while Daniel Meadows’ portraits from the 1970s show the warmth with which photography can be made and received by everybody involved.”[/vc_column_text][divider line_type=”No Line”][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default”][divider line_type=”No Line”][vc_column_text]
Four Stories from the Russian Arctic
Cross-posted from The New Yorker Photo Booth. [By Brian Dillon] “Evgenia Arbugaeva’s pictures of isolated figures in harsh terrain look recovered from the deep past or icebound legend.”
“Arbugaeva was born in the port town of Tiksi, in Siberia. A graduate of the photojournalism program at the International Center of Photography and a contributing photographer to National Geographic, Arbugaeva made the “Chukotka” series between 2018 and 2019, over the course of four trips.”
“An exhibition of Arbugaeva’s work, which recently concluded at the Photographers’ Gallery in London, is called ‘Hyperborea’—an allusion to a tribe in Greek mythology that lived beyond the north wind. Arbugaeva has long been fascinated by speculative maps of this territory, ‘the way the Arctic was alive in people’s imagination before they even set foot there.’”[/vc_column_text][divider line_type=”No Line”][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default”][divider line_type=”No Line”][vc_column_text]
Shared Perspectives on the Transatlantic Underground
Cross-posted from blind. [By Jonas Cuéenin] “Late 1970s, early 1980s: underground culture was in full swing in Paris and New York, two cities that know how to party and where young people were experimenting with new forms of protest. In Paris, it was the great age of the new wave, a blend of electronic sounds and rock and jazz, as well as African musical influences. A fusion. A glimmer of hope. Another world opened up through music. In New York, as it is often the case, the independent music scene was more radical, as well as more rebellious. This was the golden age of punk. A time of anger and refusal.”[/vc_column_text][divider line_type=”No Line”][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default”][divider line_type=”No Line”][vc_column_text]
Magnum on Set: The Misfits
Cross-posted from Magnum. “Eve Arnold didn’t know it at the time, but what she photographed on the set of 1961’s The Misfits was to be the last movie completed by Marilyn Monroe and her co-star Clark Gable. The film, an elegiac tale of divorce and aging cowboys, is tainted with sadness as Monroe’s swansong. She died of an overdose just a year after the film’s release.”
“In her photographs, Arnold captures Monroe and Miller sitting on the back of a truck, her staring pensively at the ground. In another, Miller is showing her some dance moves for a scene. The photographer captures Gable – who died 12 days after production wrapped – with his wife, dressed formally and standing under an orange tree. Arnold followed the production from Reno to Dayton, from the Nevada desert to LA. Sometimes she was a fly on the wall, revealing an unseen side of these cultural icons. Other times she asked them to pose for her camera in-between takes.”[/vc_column_text][divider line_type=”No Line”][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default”][divider line_type=”No Line”][vc_column_text]
The Last Man
Cross-posted from LensCulture. [By Lauren Grabelle] “In March of 2020 I moved onto my partner’s remote ranch in Montana. A three-time U.S. Army combat veteran, he returned home to his 4th-generation family ranch a few years earlier to search for balance and peace battling the harsh, unpredictable forces of nature, while maintaining his love of the earth and its creatures. The ranch is situated in a grizzly corridor, where wolves and mountain lions also roam. I am here now too, making images of comfort while searching for myself in a land that is not about me.[/vc_column_text][divider line_type=”No Line”][divider line_type=”Full Width Line” line_thickness=”1″ divider_color=”default”][divider line_type=”No Line”][vc_column_text]
“The World I Wish People Knew”: Photographer Cara Romero on Redefining Contemporary Native Art
Cross-posted from Hyperallergic. [By Anne Wallentine] “This year, Romero will be installing photographs of California’s Indigenous peoples on billboards and public places throughout Los Angeles.”
“‘Most Californians do not know this history, and do not understand modern Native struggles for recognition and cultural landscape preservation. We are literally invisible,’ said photographer Cara Romero, an enrolled member of the Chemehuevi Indian Tribe, in an email to Hyperallergic. But according to 2012 data, Los Angeles County is home to more Natives than any other county (about 140,000 American Indian/Alaska Natives). Visibility is long overdue — as well as continued counter-narratives to the story of disappearance and erasure.”[/vc_column_text][divider line_type=”No Line”][/vc_column][/vc_row]