MUSÉE 29 – EVOLUTION
Evolution explores the concepts of progress, transformation, growth, and advancement in an age when images are taking a dramatic shift in the role they play in our lives.
John Chiara: There came a point where he just said, “Okay, you know what to do, you just have to go out and do it. When you get the cojones, come meet with me again, and show me new work. Call me up and we’ll meet until one of us falls over and doesn’t get back up.”
I am always interested to see how things have changed and I have also always been in love of Classic Art so the idea came very easily to my mind.
I agree with you. I am also very concerned about that on many levels. First, I'm a photographer. I spent a whole lifetime on photographs that have emotion. A good photograph is one that works well across the frame with a strong emotional content. I don’t want see a kid dying in the frame; I’ve seen that so many times it has become a cliché. But I do want to see something that moves me.
November is bestowed as National Native American Heritage Month. Needed now more than ever, this month serves as a reminder of the vast and deeply integral contributions Native Americans have made and continue to make towards this country. Amidst a time of political turbulence, conversations which are long over due are being had and with that a window of opportunity to change the existing narrative and the cultural norms has arisen.
I think we’re in a very weird place with all of this technology. In the scientific world, it’s making amazing things happen, but on a daily basis there are things that we all hoped we would already have figured out. We don’t have flying cars yet, but we are getting there. Having self-driving cars is going to be amazing. I think, in the mass senses, in our daily lives, we’re now so connected, but at the same time we all feel distanced from each other. So there’s a weird two-edged element.
I think the series just grew. They are all iterations of the same issue: women being known through their domestic status. How that is defined or explored has changed with each section. I am not sure any picture or group of pictures are more important to me. I am more concerned with which pictures are able to convey the idea, and to which other people can relate. Beauty and accessibility are important to me.
Through the curated art - or what Plato referred to as a form of 'divine madness', there will be an examination of ideal forms, Plato's concern of being versus becoming, and mann's journey to eudaimonia. Of course the exhibit will feature Jeff Koon’s Play Doh, a colorful polychromed aluminum sculpture of the modeling compound. And works from a project by Huang Yong Ping entitled, Caverne, galvanized by Plato's The Allegory of the Cave and re-associated to the Taliban's ruination of culture and imagery.
Next week, everyone’s favorite book depot The Strand will host a week of events to shake you out of your Thanksgiving food-coma. International publisher Steidl teams up with the Strand to provide a week-long celebration of some of Steidl’s most prolific published artists. On Monday, November 27th photographer and founder Gerhard Steidl kicks off the week with a discussion on the lasting importance of physical media in a world rocked by overwhelming technological changes
Equally important to me are the lessons her works suggest when juxtaposed beside other artists’ creations. Movement, in most pieces I observe in the Centre Pompidou, is central to communicating the devastation and chaos that the natural threatens in our carved-out, mechanical lives. Much has been written about Mendieta’s relationship with the earth, but not a great deal has focused on this sense of global catastrophe, the overwhelmingly real or feared natural events that might make our moving bodies disappear.
For the work I’ve made since 2012 I spent intimate time photographing older men in New York City to learn how to seduce, to age gracefully, to learn about the past. The impact of the education I received in matters of art, lust, and aging, outweighed anything I’ve experienced before or since and has characterized much of my adult life.
OK, well, my photographs are not “morbid.” Morbid means unhealthy and deformed. I photograph social outcasts because I want to celebrate their singularity and the strength it takes for them to engage life. An example is a photograph called “Un Santo Oscuro,” a man born in Canada because his mother took thalidomide, which was banned in the United States under the Kennedy administration.
My self-portraits are a projection of my inner voice. What may seem abstract to the viewer is to me a language rooted in symbolism and allegory. I am photographing my dream self.
First, it was really shocking, and I knew I needed to just chill out, be calm, and not seem nervous. The other thing that happened dawned on me later; I think I felt it immediately, and I just didn't know that I felt it. My dad was an addict when I was a kid, and I had been in lots of places like this. I’m pretty sure that I never saw people using in front of me, but I was around that type of adult for sure as a child.
I did research looking through human rights reports. Some of the strikes are repetitive, but some strikes are much more telling and have personal details that humanize it. Residential homes, religious schools, wedding convoy or a funeral being hit bugged me. There have been hundreds of these strikes and I picked out ones that have a human hook to them.
It's all about skin. I use whatever materials and methods I need to in order to explore the experience and ideas of skin and the body.
The Photography Master Retreat, fourth edition, will be held July 7-14, 2018 for a select group of fourteen participants, chosen by the mentors from submitted applications. Priority consideration and our Early Bird Special ends December 10, 2017.
