Biography • Diane Arbus Diane Arbus • Biography
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EUROPEAN CULTURE FESTIVAL - a PART of EUROPEAN SOCIAL FORUM 2008 EUROPEAN CULTURE FESTIVAL Sept
EUROPEAN CULTURE FESTIVAL - A PART OF EUROPEAN SOCIAL FORUM 2008 EUROPEAN CULTURE FESTIVAL Sept. 12th – 21st 2008 A part of European Social Forum 2008 European Culture Festival (ECF) is a project that has functioned primarily as a tool within the framework of the European Social Forum (ESF) aiming to inspire, anchor and integrate different parts of the local cultural scene - to make possible a rich and diverse cultural programme to complement the forum. The project was initiated by Folkets Bio Malmö and immediately a creative collaboration was established with Folkets Hus och Parker to set an extensive film programme. All along more local culture actors has joined the project, which has grown into including all cultural fields, with focus remaining on the film programme. The result is both unique and outstanding, presenting the most extensive film programme in Malmö ever, and at the same time the biggest commitment to documentaries and film seminars ever. During the ESF approximately 400 cultural events will be presented, in which all artistic expressions are represented and there will be events for all ages. Add to that the forum seminar programme, with over 200 seminars, and we have for Malmö - a grand and very unique forum. ECF is founded on the cooperation between 200 organizations and actors from all over the world presenting events in 18 different locations in Malmö. The festival is based on extensive voluntary work. The programme includes 210 events within all cultural fields. We have largely concentrated on film screenings, art video screenings & exhibitions as well as seminars. Thematically we have our main TRANSITPASSENGERS & MAGIC LANTERN FOUNDATION focus on design, architecture and urban planning, queer, migration, labour rights, alternative movements and actions, local resistance, environment and feminism. -
First Cyberfeminist International
editorial In September 1997 the First Cyberfeminist International Who is OBN and what do they do? took place in the Hybrid Workspace at Documenta X, in The Old Boys Network was founded in Berlin in spring Kassel, Germany. 37 women from 12 countries partici- 1997 by Susanne Ackers, Julianne Pierce, Valentina pated. It was the first big meeting of cyberfeminists Djordjevic, Ellen Nonnenmacher and Cornelia Sollfrank. organized by the Old Boys Network (OBN), the first inter- OBN consists of a core-group of 3-5 women, who take national cyberfeminist organisation. responsibility for administrative and organisational tasks, and a worldwide network of associated members. OBN is dedicated to Cyberfeminism. Although cyber- feminism has not been clearly defined--or perhaps OBN’s concern is to build spaces in which we can because it hasn't--the concept has enormous potential. research, experiment, communicate and act. One Cyberfeminism offers many women--including those example is the infrastructure which is being built by weary of same-old feminism--a new vantage point from OBN. It consists of a cyberfeminist Server (currently which to formulate innovative theory and practice, and under construction), the OBN mailing list and the orga- at the same time, to reflect upon traditional feminist nisation of Real-Life meetings. All this activities have the theory and pratice. purpose to give a contextualized presence to different artistic and political formulations under the umbrella of The concept of Cyberfeminism immediately poses a lot Cyberfeminism. Furthermore we create and use different of questions. The most important ones are: 1. What is kinds of spaces, spaces which are more abstract. -
University Microfilms International 300 N
THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. -
Feminist Perspectives on Curating
Feminist perspectives on curating Book or Report Section Published Version Richter, D. (2016) Feminist perspectives on curating. In: Richter, D., Krasny, E. and Perry, L. (eds.) Curating in Feminist Thought. On-Curating, Zurich, pp. 64-76. ISBN 9781532873386 Available at http://centaur.reading.ac.uk/74722/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.on-curating.org/issue-29.html#.Wm8P9a5l-Uk Publisher: On-Curating All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. -
From the Museum to the Street: Garry Winogrand's Public Relations and the Actuality of Protest
arts Article From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest Simon Constantine Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Received: 12 March 2019; Accepted: 16 April 2019; Published: 3 May 2019 Abstract: Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period. Keywords: street photography; Winogrand; formalism; protest; Vietnam War; documentary 1. Introduction In her 1981 essay, ‘In, Around and Afterthoughts (on Documentary Photography)’, Martha Rosler sought to reinvent documentary practice through a Marxist critique of its traditions, truth claims and political assumptions. However, in doing so, she also stressed the difference between this project and a second, reactionary attack upon photographic credibility; one conducted by a postwar art establishment, which sought to secure ‘the primacy of authorship’ and avoid the social by isolating images ‘within the gallery–museum–art–market nexus’ (Rosler 1992, p. -
Biography • Diane Arbus Diane Arbus • Biography
BIOGRAPHY • DIANE ARBUS DIANE ARBUS • BIOGRAPHY 1923 March 14, Born in New York City 1928-1940 Ethical Culture School and Fieldston School, NY 1955-1957 Studied photography with Lisette Model, NY 1971 July 2, Died in New York City Solo exhibitions: 2019 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto 2018 Diane Arbus Untitled, David Zwirner, New York Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum 2017 Diane Arbus: In the Park, Lévy Gorvy, New York 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, NY; traveled to The San Francisco Museum of Modern Art, San Francisco, CA; Malba, Buenos Aires, Argentina 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia; Heide Museum of Modern Art, Bulleen, Australia,; Art Gallery of South Australia, Adelaide, Australia,] [organ- ized by National Gallery of Australia, Canberra] 2013 Diane Arbus: 1971 – 1956, Fraenkel Gallery, San Francisco, CA 2012 Diane Arbus: Affinities, Timothy Taylor Gallery, London, UK Diane Arbus: Guggenheim Grants, 1963-1967, KMR Arts, Washington Depot, CT 2011-2013 Diane Arbus Retrospective, Jeu de Paume, Paris; Fotomuseum, Winterthur, Zu- rich, Switzerland; Martin-Gropius-Bau, Berlin, Germany; FOAM, Amsterdam, Netherlands 2011 Diane Arbus and August Sander, Edwynn Houk Gallery, Zurich, Switzerland Diane Arbus: People and Other Singularities, Gagosian Gallery, Beverly Hills, CA Diane Arbus, Peder Lund, Oslo, Norway -
Curating in Feminist Thought
ONN CURATING.org Issue 29 / May 2016 Notes on Curating, freely distributed, non-commercial Curating in Feminist Thought WWithith CContributionsontributions bbyy NNanneanne BBuurmanuurman LLauraaura CastagniniCastagnini SSusanneusanne ClausenClausen LLinaina DzuverovicDzuverovic VVictoriaictoria HorneHorne AAmeliamelia JJonesones EElkelke KKrasnyrasny KKirstenirsten LLloydloyd MMichaelaichaela MMeliánelián GGabrielleabrielle MMoseroser HHeikeeike MMunderunder LLaraara PPerryerry HHelenaelena RReckitteckitt MMauraaura RReillyeilly IIrenerene RevellRevell JJennyenny RichardsRichards DDorotheeorothee RichterRichter HHilaryilary RRobinsonobinson SStellatella RRolligollig JJulianeuliane SaupeSaupe SSigridigrid SSchadechade CCatherineatherine SSpencerpencer Szuper Gallery, I will survive, film still, single-channel video, 7:55 min. Contents 02 82 Editorial It’s Time for Action! Elke Krasny, Lara Perry, Dorothee Richter Heike Munder 05 91 Feminist Subjects versus Feminist Effects: Public Service Announcement: The Curating of Feminist Art On the Viewer’s Rolein Curatorial Production (or is it the Feminist Curating of Art?) Lara Perry Amelia Jones 96 22 Curatorial Materialism. A Feminist Perspective The Six Enemies of Greatness on Independent and Co-Dependent Curating Video programme compiled Elke Krasny by Susanne Clausen and Dorothee Richter 108 27 Performing Feminism ‘Badly’: Slapping Scenes Hotham Street Ladies and Brown Council Susanne Clausen Laura Castagnini 29 116 Feminism Meets the Big Exhibition: Taking Care: Feminist Curatorial Pasts, -
Photographer Profile - Richard Sandler: "I Was a Street Kid - That World Subscribe to Profiles Was My World" Enter Your Email Address
Sign In Register Photographer Profile - Richard Sandler: "I was a street kid - that world Subscribe to Profiles was my world" enter your email address By David Schonauer Tuesday January 17, 2017 Subscribe Richard Sandler’s book The Eyes of the City Search: came as a revelation when it was released late last year. Time, for instance, called Sandler the “unsung street photographer of 1980s New York.” His pictures, wrote Alexandra Genova, Most Recent: captured “a visceral cross section of fabulous wealth and terrible misfortune, often found in the Photographer Profile - same frame.” Others found sorrow and joy in his Richard Sandler: "I was a photographs of a New York that no longer exists. street kid - that world was Almost all remarked on the intelligence and my world" beauty of his black-and-white images. “I was very happy with the way the work was Illustrator Profile - Laurie received, especially since back in the ’80s, when Rosenwald: "I love to the pictures were fresh, nobody wanted any part work" of them,” Sandler says. Photographer Profile - Sandler’s newfound renown is a case study in David Yarrow: "People the vagaries of taste. In 1967, the landmark respond to the stories Museum of Modern Art exhibition “New Documents” identified behind the pictures" what curator John Szarkowski called “a shift in emphasis” and “a new direction” in photography — documentary photography that Illustrator Profile - R. had the feel of snapshots. The exhibition featured the work of Kikuo Johnson: "You'll three relatively unknown photographers — Diane Arbus, Garry never regret making the Winogrand, and Lee Friedlander. -
New Documents
he Museum of Modern Art No. 21 ?» FOR RELEASE: |l West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Tuesday, February 28, I96T PRESS PREVIEW: Monday, February 27, I96T 11 a.m. - k p.m. HEW DOCUMENTS, an exhibition of 90 photographs by three leading representatives of a new generation of documentary photographers -- Diane Arbus, Lee Friedlander and Garry Winogrand — will be on view at The Museum of Modern Art from February 28 through May 7. John Szarkowski, Director of the Department of Photography, writes in his intro- this duction to the exhibition, "In the past decade/new generation of photographers has redirected the technique and aesthetic of documentary photography to more personal ends. Their aim has been not to reform life but to know it, not to persuade but to understand. The world, in spite of its terrors, is approached as the ultimate source of wonder and fascination, no less precious for being irrational and inco* herent." Their approach differs radically from the documentary photographers of the thirties and forties, when the term was relatively new. Then, photographers used their art as a tool of social reform; "it wac their hope that their pictures would make clear what was wrong with the world, and persuade their fellows to take action and change it," according to Szarkowski, "VJhat unites these three photographers," he says, "is not style or sensibility; each has a distinct and personal sense of the use of photography and the meanings of the world. What is held in common is the belief that the world is worth looking at, and the courage to look at it without theorizing," Garry Winogrand*a subjects range from a group of bathers at Eastharapton Beach on Long Island to a group of tourists at Forest Lawn Cemetery in Los Angeles and refer to much of contemporary America, from the Beverly Hilton Hotel in California to peace marchers in Cape Cod, (more) f3 -2- (21) Winograod was born in New York City in I928 and b3gan photographing while in the Air Force during the second World War. -
Introduction Case Study: Photography Into Sculpture
INTROduCTION Case Study: Photography into Sculpture In 1979, Peter Bunnell, the David Hunter McAlpin Professor of the History of Pho- tography and Modern Art at Princeton University, gave a lecture at Tucson’s Center for Creative Photography (CCP) titled “The Will to Style: Observations on Aspects of Contemporary Photography.”1 James Enyeart, the CCP’s director, introduced Bunnell and listed his many accomplishments, including his tenure as a curator of photography at the Museum of Modern Art (1966– 72), noting in particular his 1970 exhibition there Photography into Sculpture. Enyeart called it “one of the preeminent exhibitions of the decade.” But at the end of the talk, the focus of which was not photo sculpture or other experimental forms, but straight photography, Bunnell offered his own assessment of the exhibition, which was decidedly less positive. In his complex and carefully argued lecture, Bunnell defended Garry Winogrand and Lee Friedlander, whose work had recently come under attack by Janet Malcolm in her New Yorker essay “Diana and Nikon” for making presumably style-less photographs that were “indistinguishable” from snapshots and just as unsophisticated and offhand as those made by amateur photographers.2 Bunnell argued that Winogrand’s and Fried- lander’s photographs were absolutely not snapshots, and demonstrated the point by com- paring them to actual snapshots taken by random amateurs who had participated in Ken Ohara’s Snapshot Project.3 Citing the Russian formalist Victor Shklovsky and the Marxist cultural critic Fredric Jameson, Bunnell asserted that “defamiliarization” was one of the primary strategies deployed by Winogrand and Friedlander, noting that “in their hands, defamiliarization became an attack . -
1 LEE FRIEDLANDER Born, 1934, Aberdeen, Washington Lives In
LEE FRIEDLANDER Born, 1934, Aberdeen, Washington Lives in New City, New York AWARDS & HONORS 2018 Lucie Award for Lifetime Achievement in Photography 2010 Lead Award Gold Medal, MONOPOL Magazine 2006 Lifetime Achievement Award, The International Center of Photography, Infinity Awards 2005 Erna and Victor Hasselblad Foundation International Award in Photography Doctor of Fine Arts, The Art Center School of Design, Pasadena, CA 2004 Doctor of Fine Arts, University of Pennsylvania Doctor of Fine Arts, Yale University 1999 Fellow of the American Academy of Arts and Sciences French Chevalier of the Order of Arts and Letters 1990 John D. and Catherine T. MacArthur Foundation Award 1986 Edward MacDowell Medal 1981 Medal of the City of Paris 1980 National Endowment for the Arts Grant Friends of Photography Peer Award 1979 National Endowment for the Arts Grant 1978 National Endowment for the Arts Grant 1977 National Endowment for the Arts Grant John Simon Guggenheim Memorial Foundation Fellowship Mellon Chair, Rice University 1972 National Endowment for the Arts Grant 1962 John Simon Guggenheim Memorial Foundation Fellowship 1960 John Simon Guggenheim Memorial Foundation Fellowship SELECTED SOLO EXHIBITIONS 2020 Lee Friedlander, Luhring Augustine, New York, NY 2019 Lee Friedlander: Dog’s Best Friend, Andrew Smith Gallery, Tucson, AZ Signs, Fraenkel Gallery, San Francisco, CA 2018 Lee Friedlander / MARIA, Deborah Bell Photographs, New York, NY Lee Friedlander in Louisiana, New Orleans Museum of Art, New Orleans, LA 1 Lee Friedlander: American Musicians, -
Street Photography Reframed
arts Editorial Street Photography Reframed Stephanie Schwartz Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Afraid of contagion? Stand six feet from the next protester, and it will only make a more powerful image on TV. But we need to reclaim the street. Davis(2020a) When I began writing this Introduction in April 2020, the streets were empty. Or, to be more precise, this was what I was seeing in the many photographs that were making up the daily news. Day after day, photographs of empty piazzas in Rome and Venice were filling up my news feed. I was seeing or being shown the impact of the spread of the coronavirus on public spaces. There was no traffic on the Brooklyn Bridge and no footfall through London’s Trafalgar Square. New York’s Times Square also appeared to be at a complete and total standstill (Figure1). As of March 2020, public life in the streets of most financial capitals had been put on hold for the foreseeable future. It was eerie—or so I was told. This was the word being used over and over again in the headlines.1 It seems that those sitting Citation: Schwartz, Stephanie. 2021. at home needed to be haunted—though not necessarily by what once was. They needed Arts 2021, 10, x FOR PEER REVIEW 3 of 13 Street Photography Reframed. Arts to be haunted by what might no longer be: living in public, being in the streets, loitering, 10: 29. https://doi.org/ meandering, and shopping.2 10.3390/arts10020029 Received: 7 April 2021 Accepted: 8 April 2021 Published: 28 April 2021 Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affil- iations.