Image: Stephen Mallon
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.
Cross-posted from aperture. [By David Campany] “In the 1950s, no U.S. publisher would touch Klein’s photobook about the city. But six decades later, his teeming vision of New York has become an icon of postwar popular culture.”
“Art history tends to reduce Klein’s New York work to a handful of punchy and gritty street shots, but the book itself always surprises. For every picture of anarchic kids clowning or billboards exhorting, there are as many visions of tenderness, elegance, and affection. Each seems to be made with conviction, but there is no point of view that unites them all. In fact, Klein’s book signaled a break with the modernist idea that an artist should even need such a thing as a unified position.”
Cross-posted from Noah Kalina Newsletter. “When I first started taking a photo of myself every day, my initial intention was always that it would ultimately be presented as a stills photography project. I imagined that each frame would be printed, and it would be added to a grid. One day, if I’m lucky, the photos might cover a whole room.”
“A few years after that (2006), I saw a video on a brand new website called YouTube by artist Ahree Lee that changed my mind. I understood what made the time-lapse video component so powerful. It all finally made sense to me. So on August 27, 2006, I posted everyday on YouTube.”
“And so, in 2020, when Noah published his newest ‘everyday’ video, covering 20 years of his life, I was all set and excited to explore his project for myself. I was curious to see if it was possible to show the passing of time in a new and different way than before. But before I could explore this, I first had to align all photos: I used an AI face detection algorithm to find the faces (left), located the eyes within (middle), and rotated and scaled the images in such a way, that they all aligned…”
Cross-posted from The Tate. “Iranian visual artist Shirin Neshat uses film, video, and photography to explore issues of gender and identity, with a particular focus on women’s relationships with religious cultural systems of Islam.
In 1974, aged 17, Neshat moved from Iran to the United States to study art at the University of California, Berkeley. During her absence, the country became an Islamic republic following the 1979 revolution. On returning in 1990, she was struck by the cultural and political changes that had taken place, one significant change being the introduction of laws requiring women to dress according to Islamic tradition.
This experience led Neshat to explore gender in Islamic societies, with the veil becoming a central image in her photographic and video work.
Watch Neshat as she revisits these stories from her studio in New York.”
Cross-posted from aPhotoEditor. [By ssease] “On March 11, 2011 at 2:46 PM, Iwate, Miyagi and Fukushima prefectures in northeastern Japan, sound the automatic alarms in schools, factories, tv stations, radio stations and on cell phones. The message says: Major Earthquake. You have 32 seconds to seek shelter. A magnitude 9.0 earthquake strikes off the coast, triggering a towering tsunami that reaches land within half an hour. The quake was so strong it actually shifted Earth’s axis and moved the coast of Japan about 16 feet southwest and 3 feet down. NASA reports three day later that the earth axis shift that happened as a result of Tohuku Earthquake may have shortened the length of each day on Earth.”
“There was definitely something personal in my decision to go to Japan in 2011 but there was certainly nothing impulsive about it. I try to self-assign at least one visual project a year and I also happen to have been on flight benefits, so after 3 months of preparations, scouting online, a list of contacts in Japan, I was ready to go. 3 months seems a lot I had to negotiate time with my family, kids, and my two businesses. My plan was to reach one of the cleaning camps in Tohuku and a letter I got from a longtime friend and my former boss eventually helped me to do volunteer work in a photo cleaning site ran by Caritas Japan.”
Cross-posted from The New Yorker Photo Booth. [By Sarah Blackwood] “On October 28, 1899, Lora Webb Nichols was at her family’s homestead, near Encampment, Wyoming, reading “Five Little Peppers Midway,” when her beau, Bert Oldman, came to the door to deliver a birthday present. The sixteen-year-old Nichols would marry the thirty-year-old Oldman the following year, and divorce him a decade later. The gift, however—a Kodak camera—would change the course of her life. Between 1899 and her death, in 1962, Nichols created and collected some twenty-four thousand negatives documenting life in her small Wyoming town, whose fortunes boomed and then busted along with the region’s copper mines. What Nichols left behind might be the largest photographic record of this era and region in existence: thousands of portraits, still-lifes, domestic interiors, and landscapes, all made with an unfussy, straightforward, often humorous eye toward the small textures and gestures of everyday life. (A selection of images from the full collection, now housed at the American Heritage Center, at the University of Wyoming, was recently published in a catalogue edited by the scholar and photographer Nicole Jean Hill, with a biographical note by Nichols’s family friend Nancy F. Anderson, who served for years as the curator and caretaker of the Nichols archive.)”
Cross-posted from PBS Sunday Arts. “Morrison Hotel Gallery represents some of the most admired names in fine art music photography, bringing together buyers and admirers with photographers in intimate shows at their three Soho spaces. SundayArts visited Morrison Hotel throughout their 10th anniversary year, speaking to legends like Henry Diltz, Bob Gruen, and Joel Bernstein.”
Artist Catherine Opie, the New Chair of UCLA’s Art Department, on How She Hopes to Make Her Students Debt-Free
Cross-posted from artnet news via ProPhoto Daily. [By Taylor Dafoe] “Upon taking the gig, Opie vowed to raise $10 million for the department over the next three years—a pot of money that would be put toward endowed scholarships for students and professorships for faculty. The primary goal, she explained, is to give students the opportunity to finish school debt-free.
‘I have students leaving school and they tell me they are $60,000 in debt. That’s not sustainable,” she said. ‘How’re you going to do anything?’”
Cross-posted from The Eye Of Photography. “At the Rencontres d´Arles, it is one of the rare exhibitions where waiting in line is almost systematic to enter and where the public’s praise is total: “Sabine Weiss, a photographer’s life”. At the age of 97, the Swiss-born photographer has finally climbed to the pinnacle. Covered by the Kering “Women in motion” prize and a large bouquet of flowers on Monday July 5, she gave all week of her time for signatures and meetings with visitors. Meeting with the curator of her exhibition, Virginie Chardin, who discusses the project for this exhibition, already important in the history of photography.
Virginie Chardin, curator of the exhibition dedicated to Sabine Weiss: “There are at least 1/3 unpublished images, never exhibited”
“What, in your opinion, makes Sabine Weiss unique, beyond her humanist touch?
I would say she is a photographer who is very straightforward. She is very social and it is the contact with others that will make her press the shutter button on the camera. There is no distance. When she photographs a little beggar in Toledo, she does not photograph poverty, she photographs this child because his gaze attracted her. I think she is a child herself. I wouldn’t want people to think of her as the “child photographer”, but in my opinion she remained a child. She is not a photographer who will document a social subject. In her photographs, there is no message, there are no small scenes, no winks, there is an immediacy, a presence.”
Cross-posted from Hyperallergic. [By Claire Voon] “Digitized by the American Antiquarian Society, the 225 vintage images were intended for non-Native audiences and were reproduced in government reports, illustrated newspapers or mounted on stereo cards.
Between 1879 and 1902, a man named John N. Choate served as official photographer for the Carlisle Indian School, a federally-funded boarding school in Pennsylvania established to assimilate Native American children into Euro-American culture. Enrollment of indigenous youth was essentially a way to “civilize” them; the pithy motto of its founder, General Richard Henry Pratt, was “Kill the Indian, and save the man.” Choate, who was non-Native, often documented how students changed over as they received new haircuts and attire and shed aspects of their own culture.
Some of his records of this thorny past are among a collection of 19th-century photographs of North American Indians recently digitized and uploaded by the American Antiquarian Society as a scholarly finding aid.”
Cross-posted from aperture. [By Rebecca Bengal] “In 1999, when I was an intern at the now-defunct photography and literature quarterly DoubleTake, housed at the Center for Documentary Studies at Duke University, I was asked to proofread a survey of photographs by William Gedney. The revered but little-known artist had died a decade earlier. Since no books on his work had been published in his lifetime, What Was True: The Photographs of William Gedney, coedited by Margaret Sartor and Geoff Dyer, would be an introduction for most readers. It most certainly was for me. I was struck by the intimacy of Gedney’s photographs, the accidentally graceful human arrangements in his black-and-white frames: barefoot, stringy-haired girls loitering in a kitchen near a Kentucky mining camp in the 1960s; a young boy gripping the steering wheel of a stalled car; teenage boys and men gathered, shirtless, around the flipped-up hood of another broken-down car. Gedney’s pictures were both secretive and familiar. They spoke to the way I had felt watching grown-ups talk on my grandparents’ small mountain farm, when they thought us kids weren’t really paying attention. Gedney’s pictures let people reveal a hidden part of themselves in a way that other photographs I’d encountered of country people and poor people did not. He saw them with complicated beauty, without condescension. The people in his frames could, and did, desire and dream of worlds and existences beyond what was expected and assumed of them. In recognizing that quality, the photographer simultaneously revealed something of his own longing.”