Press Release NICK KNIGHT, MARY MCCARTNEY, MILES ALDRIDGE
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
© 2016 Mary Kate Scott ALL RIGHTS RESERVED
© 2016 Mary Kate Scott ALL RIGHTS RESERVED THE PHOTOGRAPHY OF ABSENCE: DEATH IN POSTMODERN AMERICA By MARY KATE SCOTT A dissertation submitted to the Graduate School-New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Art History Written under the direction of Andrés Zervigón And approved by ________________________________________ ________________________________________ ________________________________________ ________________________________________ New Brunswick, New Jersey January 2016 ABSTRACT OF THE DISSERTATION The Photography of Absence: Death in Postmodern America By MARY KATE SCOTT Dissertation Director: Dr. Andrés Zervigón It is a paradox that postmodern photographic theory—so thoroughly obsessed with death—rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph’s viewer over its subject or maker. To Barthes’ followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author’s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. -
V&A Exhibition Opening Party Horst: Photographer of Style
V&A Exhibition Opening Party Horst: Photographer of Style Travel Partner – American Airlines With thanks to Bicester Village, London and Kildare Village, Dublin Supported by the American Friends of the V&A Reputable image and style makers from across London displayed their admiration for master photographer Horst P.Horst last night by attending the definitive retrospective exhibition of his work - Horst: Photographer of Style. Carmen Dell’Orefice, the iconic model who worked with Horst from 1946, opened the exhibition with Condé Nast’s International President and V&A Trustee, Nicholas Coleridge, which was pertinent given Horst worked with Vogue internationally throughout his 60-year career. At the end of the speeches Nicholas warmly handed Carmen a framed Horst photograph, which was a gift from Gert Elfering, art collector and owner of the Horst Estate to mark the occasion. “Horst was my lifelong friend. I have never seen a tribute paid so perfectly to an artists work. Enjoy the show. ” - Carmen Dell’Orefice Guests included Yasmin le Bon, David Downton, Nicky Haslam, Miles Aldridge, Dan Macmillan, Amber Le Bon, Saffron Aldridge, Becky Tong, Ivan Massow, Patrick Cox, Alice Naylor Leyland and Kim Hersov. Horst: Photographer of Style displays 250 photographs, alongside Haute couture garments, magazines, film footage and ephemera. The exhibition explores Horst’s collaborations and friendships with leading couturiers such as Coco Chanel and Elsa Schiaparelli in Paris; stars including Marlene Dietrich and Noël Coward; and artists and designers such as Salvador Dalí and Jean-Michel Frank. On display are Horst’s best known photographs alongside unpublished and rarely exhibited vintage prints, conveying the diversity of his output, from surreal still lifes to portraits of Hollywood stars. -
The History of Photography: the Research Library of the Mack Lee
THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography. -
Body in Fashion Films: the New Net-Aesthetic Era Simonetta Buffo, Università Cattolica Del Sacro Cuore Milano, Istituto Marangoni Milano [email protected]
Studies in Communication Sciences 18.2 (2018), pp. 365–381 Body in fashion films: The new net-aesthetic era Simonetta Buffo, Università Cattolica del Sacro Cuore Milano, Istituto Marangoni Milano [email protected] Abstract With “fashion film” we mean those online videos that are peculiar to fashion industry and are developing their own language and new types of brand narration. The field of study presented here to is related to lan- guage. The objective is indeed to better understand how this new communication tool has influenced the conventional language of fashion images through the development of new codes or a transformation of the existing ones. The object under examination is, in particular, the body as a preferred communication code within this industry. This body is not viewed by fashion as a simple object to dress, but rather as a mediating channel between the individual’s individuality and their need for communication, or better to say, their need to establish a relationship within its context. To do so, it seemed appropriate to start with the examination of the history of fashion images by concisely analysing how the body has changed its communicative role over the decades. Further analysis was then conducted in order to focus on the new meaning undertaken by the body in fashion films. As a consequence, the result is a complex and extremely rich picture. Keywords fashion film, fashion language, codes, fashion photography, fashion images 1 Body in fashion: codes therefore leads the individual to live his and languages own body with awareness and self-deter- mination, even more in modern times - Body as social product (Bourdieu, 1987) the individual is inspired by patterns com- is an important communication tool that ing often from images of the various media builds and conveys its own identity: the he is subjected to, so as to feel comfortable body mediates every relationship between in his own social relationships. -
Beneath Its Pop Print Colours and Beautiful Women, Artist And
as a photographer. Further infl uences included his design wizard father Alan Aldridge, a Central Saint Martins homoerotic directive (more on this later) and a childlike veneration for the provocative storytellers of fi lm and photography – Alfred Hitchcock, David Lynch, Frederico Fellini, Helmut Newton, Richard Avedon and Irving Penn. Miles’ bright, erotically charged photography aligns itself more with fi lm than photography’s traditional role of documentation. His distinctly cinematic style seeks to ‘suspend disbelief and transport you to a world where things are more interesting, more exciting, more beautiful’. In 2009 his work was showcased in Weird Beauty at the International Center for Photography in New York and in 2013 I Only Want You To Love Me at Somerset House was the largest exhibition of Miles’ work to date. His works are also in the permanent collection of the National Portrait Gallery and the Victoria & Albert Museum in the UK. From lip-stained cigarettes aggressively sizzled into bright orange egg yolks to sexually charged, yet somewhat dazed beauties, sprawled among smashed plates, Miles has created a psychedelic, pop print world, bound into single shots. An avid disciple of Hitchcock, he is infatuated by the dual dynamic of attraction and repulsion. This ease with beauty and colour can be traced back to the bright orange pop-art rooms of Miles’ 1960s childhood home in London. His father literally traded in the stuff as a noted psychedelic designer and close family friends included Eric Clapton and John Lennon. Striking beauty was the norm. Miles’ sister, Saffron, was a model in Paris, later becoming the face of Ralph Lauren, while half-sisters Lily and Ruby have walked runways and graced billboards the world over. -
Gilbert & George
Gilbert & George Bibliographie / Bibliography 2020 Butter, Susannah: Gilbert & George Interview, Evening Standard, Online, 14 February. Ernst, Cristof: ‘Yilmaz Dziewior, Direktor des Ludwig „Ist Köln so tolerant, wie es sich gerne sieht?“‘, Express Köln, Online, 16 February. Kunstforum International, issue 266, March - April 2020, p. 17 Jolles, Claudia, and Giulia Bernardi: Kunst Bulletin, no 4/2020, April 2020, pp. cover, 3, 20 - 29 Glauner, Max: Gilbert & George - The Great Exhibition, 1971 - 2016, Kunstforum International, issue 267, May 2020, pp.289-291 2019 Imdahl, Georg: ’Explizit und melancholisch’, Frankfurter Allgemeine Zeitung, no 28, 2 February 2019, p. 13. Johnson, Rebecca May: ’Good Morning and Afternoon with Gilbert and George’, Fantastic Man, Autumn Winter. Salter, Greg: ‘Underneath the Arches: Gilbert & George, Homosociality, and Post- War Reconstruction’, History Workshop, Online, 28 January. ‘At Astrup Fearnley Museet there is a big solo show dedicated to the eccentric artistic duo…’, Kooness, Online, 9 October. Sattler, Victor: ‘Gilbert & George im Interview “Das Leben wird nach dem Brexit weiterlaufen wie davor”’Monopol, Online, 14 January. Willis, Simon: ‘Grave Hopping with Gilbert & George’, 1843 Magazine, December 2019 - January 2020, pp. 21 - 24. Zellen, Jody: Sprüth Magers - Gilbert & George, Artillery, Online, 12 December 2019 Noone, Brian: ‘The Pride of Spitalfields’, Departures, Q4 2019, pp.70 - 72 Pagel, David: ’Dynamic Duo Put on a Giddy Extravaganza’, Los Angeles Times, 8 December 2019, p. F2 Pagel, David: ‘Review: Gilbert & George, the Siegfried & Roy of Avant Garde Art, Get an Eye-Popping Show’, Los Angeles Times, Online, 4 December. Eisler, Maryam: ’Gilbert & George’, Vanity Fair, November 2019, pp. 48 - 49 Amic, Sylvain: ‘So British’ , Pinault Collection, no 13, October 2019 - March 2020, pp. -
The Transforming Aesthetic of the Crime Scene Photograph: Evidence, News, Fashion, and Art
Concentric: Literary and Cultural Studies 38.1 March 2012: 79-102 The Transforming Aesthetic of the Crime Scene Photograph: Evidence, News, Fashion, and Art Brittain Bright Department of English and Comparative Literature Goldsmiths, University of London, UK Abstract The crime scene photograph, which came into being as part of an official evidence-gathering process, evolved through the tabloid news industry in the mid-century United States into a form of entertainment. From sensational news, the imagery, which had become ingrained in the public imagination, was co-opted by fashion and art to stage photographs that stylistically evoked the crime scene’s visual rhetoric. The crime scene aesthetic is now part of the vocabulary of many major fashion photographers, and a number of contemporary artists use both fashion and crime to question popular perception of these images. The various adaptations of the crime scene photograph have altered the aesthetic consideration of the original, so that archival examples from police departments and newspapers are being treated as art in galleries and glossy monographs. These re-imaginings and re-uses raise questions about the impact of staged imagery on the perception of authentic imagery. Keywords photography, crime scene, evidence, fashion photography, murder, news, art photography 80 Concentric 38.1 March 2012 The “Scene of the Crime” is an evocative term, and designates an evocative image. Crime scene photographs are presented in courtrooms, films, and newspapers, layering upon each other to create a contemporary visual concept of crime, one reinforced by every police drama on television. These images have deep roots in the history of photography, and have developed alongside the medium. -
Press Release__EN-1
CHRISTOPHE GUYE GALERIE MILES ALDRIDGE (*1964, British) «The Age of Pleasure» 13th of March – 24th of May 2014 ‘Miles Aldridge is a director at heart. Each photograph has a very sacred pathology to every angle and obsession to detail. There is genius in the very deliberate blankness on the face of the models that enables a transference of identity. He always draws you into an arrested fetish that seems as forbidden as a little girl’s diary.’ –Marilyn Manson Opening reception for the artist and book signing of his latest publication “I Only Want You To Love Me”: Wednesday, 12th of March, 6 – 8 p.m. This spring, Christophe Guye Galerie hosts «The Age of Pleasure» - a major exhibition of photographer Miles Aldridge's work, to CoinCide with the publiCation of the book «I Only Want You to Love Me», published by Rizzoli. This is the first solo exhibition of his work to date in Switzerland and will include small, medium and large-scale photographiC prints from throughout his Career inCluding previously unpublished material. A fiercely original photographer, Miles Aldridge is best known for the technicolor dream-like worlds he creates and the glamorous, beautiful women who inhabit them. Aldridge creates ultra-cinematic images, drawing inspiration from film directors such as David Lynch and Federico Fellini as well as the psychedelic graphic design of his father, Alan Aldridge. Aldridge's photographs often depict women in haute-Stepford mode splashed with lurid candy colors. He captures his subjects in a state of dramatic contemplation, making them more complicated and intriguing than simply beautiful. -
Fashion Photographer Miles Aldridge Brings a Realistic, Bleak Edge to His Work
'I don't get excited about clothes': Fashion photographer Miles Aldridge brings a realistic, bleak edge to his work By Steve Appleford October 9, 2015 Miles Aldridge is a fashion photographer with an eye for the tragedy behind the glamour. The women in his pictures are extravagantly beautiful and impeccably dressed but often reside within scenes of domestic bliss minus the bliss. His work is like a series of vivid single-frame movie melodramas: mothers and wives in the kitchen, in the nursery, in the bedroom, on the town, staring vacantly into the distance, lost in their thoughts and disappointments. In one picture, a blond wearing a slip points a pink hairdryer at her head like a gun. In another, a lipstick-stained cigarette is shoved angrily into an egg yolk, breakfast ruined. "I don't get excited about clothes," says Aldridge, a youthful 50, sitting in his room at the Chateau Marmont, his morning tea and newspaper on the table. "If I can make someone buy a stupid dress, I'm not happy. That's not my job. If I can shake someone, that is enough for me. I want to give that feeling of 'What the hell am I looking at?'" His pictures of super-saturated color and bleak undertones are on exhibition in "Miles Aldridge: The Pure Wonder," through Oct. 17 at the Fahey/Klein Gallery in Los Angeles. Much of the British photographer's work first appeared in the pages of Vogue Italia and was collected in his 2013 book "I Only Want You to Love Me" (Rizzoli). -
The Photograph Collector Information, Opinion, and Advice for Collectors, Curators, and Dealers N E W S L T R
THE PHOTOGRAPH COLLECTOR INFORMATION, OPINION, AND ADVICE FOR COLLECTORS, CURATORS, AND DEALERS N E W S L T R Volume XXXV, No. 6 June 2014 THE aipad PHotoGRAPHY SHOW by Stephen Perloff Tom Butler: Altered Victorian cabinet cards, $600 each at Gallery Fifty One, Antwerp, as seen at the AIPAD Photography Show (www.gallery51.com/index.php?navigatieid=9&fotograafid=143) AIPAD PHOTOGRAPHY SHOW REPORT continued The AIPAD Photography Show this year Bidwell, Michael and Elizabeth Marcus, Artur looked more elegant than it ever has as the vast Walther, Marjorie Ornston, Vicki Goldberg, Vince majority of exhibitors have learned how to stage Aletti, Philip Gefter, Lyle Rexer, Max Kozloff, attractive booths and as the signage and finish of Cheryl Dunn, Christiane Fischer, Malcolm Daniel, the booths has continually improved. The fair has Anne Tucker, Phyllis Galembo, Corey Keller, Nis- also seemed to strike a more perfect balance be- san Perez, Johan Sjöström, Sandra Phillips, Alison tween 19th-century, modernist, vernacular, and Nordstrom, Michelle Dunn Marsh, Lisa Hostetler, contemporary work. Katherine Bussard, and Jeff Rosenheim. Most of the exhibitors I spoke to were happy “AIPAD also drew a wide range of curators with the opening reception, the number of cura- from such institutions as The Museum of Modern tors they saw, as well as the number of buyers, and Art, New York; The Metropolitan Museum of Art, with their sales overall. New York; International Center for Photography, As AIPAD reported: New York; Solomon R. Guggenheim Museum, “A large and enthusiastic crowd attended the New York; The Morgan Library and Museum, opening night gala on April 9, which benefited New York; The Philadelphia Museum of Art; Los Her Justice, an organization that provides free le- Angeles County Museum of Art; The J. -
Steidl Spring/Summer 2016
Steidl Spring/Summer 2016 1 IN MAKING FILMS I CONTINUE TO LOOK AROUND ME, BUT I AM NO LONGER THE SOLITARY OBSERVER TURNING AWAY AFTER THE CLICK OF THE SHUTTER. INSTEAD I’M TRYING TO RECAPTURE WHAT I SAW, WHAT I HEARD AND WHAT I FEEL. WHAT I KNOW! THERE IS NO DECISIVE MOMENT, IT’S GOT TO BE CREATED. I’VE GOT TO DO EVERY THING TO MAKE IT HAPPEN IN FRONT OF THE LENS: SEARCHING_ EXPLAINING_ DIGGING_ WATCHING_ JUDGING_ ERASING_ PRETENDING_ DISTORTING_ LYING_ JUDGING_ RECORDING_ TRYING_ TRYING_ TRYING_ RUNNING_ TELLING A TRUTH_ RUNNING_ CRAWLING_ WORKING TOWARDS THE TRUTH_ UNTIL IT IS DONE ROBERT FRANK THE LINES OF MY HAND 1971 2 Film stills from Robert Frank’s Me and My Brother (1968) 3 Index Contents Artists / Editors Mehta, Suketu 99 Fancy Pictures 125 3 Editorial 75 William A. Ewing (ed.) Ernst Haas. Color Mocafico, Guido 137 Funeral 45 4 Index Correction 1952–1986 Adams, Robert 31–35 Moffat, Curtis 149 Golden Decade, The 127 5 Contents 77 Timm Rautert Josef Sudek, Prag 1967 Aldridge, Miles 69 Mofokeng, Santu 45 Heroes of Labour 115 6 How to contact us 79 Colin Westerbeck A Democracy of Imagery Anotani, Masaho 89 Moser, Walter 71 Imprudences 143 Press enquiries 81 Keith F. Davis (ed.) The Life and Work of Ball, Ken 127 Neville, Mark 125 In Booksburg — resumed 29 How to contact our imprint partners Sid Grossman Baltz, Lewis 101 Nozolino, Paulo 121 In My Room 27 83 Peter Hujar Lost Downtown Banier, François-Marie 143 Odermatt, Arnold 123 Invisible Man 37 85 Tod Papageorge Seeing Things: New York, Barnes, Martin (ed.) 149 Papageorge, Tod 85 -
American Road Photography from 1930 to the Present A
THE PROFANE AND PROFOUND: AMERICAN ROAD PHOTOGRAPHY FROM 1930 TO THE PRESENT A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Han-Chih Wang Diploma Date August 2017 Examining Committee Members: Professor Gerald Silk, Department of Art History Professor Miles Orvell, Department of English Professor Erin Pauwels, Department of Art History Professor Byron Wolfe, Photography Program, Department of Graphic Arts and Design THE PROFANE AND PROFOUND: AMERICAN ROAD PHOTOGRAPHY FROM 1930 TO THE PRESENT ABSTRACT Han-Chih Wang This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans’s American Photographs, 1938; Dorothea Lange’s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank’s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California.