Category Archives: Features

Jo Ann Callis reveals long-hidden fetish photos

Jo Ann Callis, renowned for her fabricated photography work in the 1970s and ’80s, recently revealed a trove of early fetishized constructs she had deemed “too hot.”

Well, at first I thought it was because they were too “hot.” Or they were too emotional — they weren’t cool like a lot of the conceptual work. They were very formal, aesthetic — all the things that weren’t in vogue at the time. So, that was initially why. But mostly I was just interested in other things. I went on using some of the same ideas: like tactility, how something feels, and how you can represent a thought in a photograph just using a straight negative — not putting it out of focus on purpose, just seeing what kinds of metaphors I could create. But I think it was the sexuality in them, and I just lost my nerve.

jo-ann-callis-02.nocrop.w1800.h1330Callis, whose best-known work comprised beautiful, uncomfortably skewed nudes and elemental expressions of the body, maintained a constant aesthetic throughout much of her career, which saw its first major exposure via the 1981 Whitney Biennial.

Fast-forward to 2009 and preparations for a Getty retrospective, Callis recalled being asked by Senior Curator of Photographs Judith Keller if there were any images of hers they hadn’t seen.

'Other Rooms' by Jo Ann Callis“And I said, ‘No, that’s it,’” Callis told New York Magazine. “I just pretended they didn’t exist, because even at that time I just didn’t think this was appropriate to show at the Getty — and I didn’t think they would be interested in it.”

Now the photographs are the subject of an exhibit at Rose Gallery in Santa Monica, Calif., and a monograph, “Other Rooms” by Aperture.

via These Eerie Fetish Photos Were Kept Under Wraps for Years – The Cut.

Timothy Archibald captures autistic son’s habits

Timothy Archibald and his son, Elijah, have created a body of work that captures the unique interactions between the boy and the world at large.

Archibald told the New York Times Lens Blog that the portraiture sessions were brief, regularly scheduled and sparked by his son’s interest in something.

It was Eli’s idea to see if a very large manila envelope would fit over his head; Eli’s idea to blow into one end of a vacuum cleaner hose and hold the other end to his ear to hear the whoosh. It was Eli’s idea to see if he could curl up his body until it fit inside a clear plastic toy box, to flatten his features with a wide rubber band, to look through the wide end of a funnel that happened to be the same circumference as his face.

“He has always fetishized objects,” Archibald said. “They are iconic to him.”

The photographs are available in a limited-edition book of 43 images, “Echolilia,” which is available on Archibald’s website.

(via Loving Father Photographs Unique Habits of His Autistic Son – My Modern Met)

Curve winners go on exhibit in Santa Fe

Women with goggles and gas masks in Istanbul, Turkey.
Women watch police fire tear gas canisters close to where they are standing. Gezi Park, Istanbul.

SANTA FE, N.M. — The winners of CENTER’s 19th Annual International Awards go on exhibit 14 June 2014 at the Center for Contemporary Art’s Muñoz Waxman Gallery.

The exhibit will highlight work by Guy Martin (project launch winner) and Adam Reynolds (project development winner), as well as Manjari Sharma, Morgan Ashcom, Jeanine Michna-Bales, Thomas Jackson, Charlie Simokaitis, Barbara Hazen, Anne Berry, Mateusz Sarello and Ryan Zoghlin.

Drawing entrants from 43 countries, the CENTER Awards highlight outstanding photographic works and include a cash grant, exhibitions, attendance to Review Santa Fe and exposure for their work.

Review Santa Fe is CENTER’s flagship event runs 26 June to 29 June and brings together photographers and photography curators, editors and gallerists to review portfolios amid a series of events.

Muñoz Waxman Gallery is located at  1050 Old Pecos Trail.

via CENTER: The Curve.

Bruce Weber depicts Detroit and its denizens

DETROIT — While first visiting Detroit on assignment for W magazine in 2006, the renowned fashion photographer saw something more than the faded glory of a preeminent American city.

“If I was ever in trouble, I would want someone from Detroit to be there with their dukes up along with mine,” Weber said at an event touting his upcoming exhibit at the Detroit Institute of Arts.

Curiously, it was Vogue editor-in-chief Anna Wintour who helped bring the show to fruition, following a lunch meeting with Weber at which he exclaimed, “I love Detroit!”

The exhibit, “Detroit — Bruce Weber,” which comprises some 80 photographs, opens 20 June 2014 and runs through 14 September 2014.

Hindu deities brought to life, one at a time

Widely recognized amid everyday life in India, Hindu deities come to life in the work of photographer Manjari Sharma.

Traveling to Mumbai in February 2011, Sharma took three weeks and an estimated $3,000 to $4,000 to produce her first photograph in the “Darshan” series, according to a New York Times Lens Blog feature, titled “The Beauty and Chaos of the Gods.”

For Sharma, it’s a project that could take several lifetimes, given the multitude of Hindu deities to choose from.

“There are billions of gods and goddesses in Hindu mythology,” she told the Times. “I could be doing this till the day I die and not have done enough.”

The sensitive nature of working with religious figures, also, isn’t lost on Sharma.

“If these gods weren’t given the respect that they should be given or I had my own take, which was perceived as slander, it would be shut down,” she said. “I’m treading on really touchy waters. Fortunately, everyone is in sync with the understanding that I’m treating it with as much respect as I could, since I come from it.”

A Kickstarter campaign helped the Brooklyn-based photographer raise an additional $26,000 for the project.

Sharma was recently named among the winners of CENTER’s 19th Annual International Awards and will have her work exhibited in Santa Fe, N.M.

via Darshan 2011 Ganesha on Vimeo.

Tom Ford book spotlights stratospheric fashion career

NEW YORK (Fotophile.com) — It’s not often a fashion designer at the top of his game walks away from it all. But then, it’s not often the industry finds a Tom Ford, either.

Since announcing last November that he would leave his position as creative director of Gucci Group and designer for Gucci and Yves Saint Laurent, Ford took the industry by surprise. Now, Rizzoli has published an oversized volume highlighting the illustrious designer’s decade-long career set for release 1 November 2004.

The book features more than 300 photographs providing evidence of Ford’s stratospheric career as a cutting-edge designer and sharp businessman. In his decade-long role at the helm of Gucci Group, the company increased sales from $230 million in 1994 to nearly $3 billion in 2003 and becoming the world’s leading luxury brand, while setting fashion trends as well.

Photos are provided by some of the world’s top image-makers, including Richard AvedonMario TestinoHelmut Newton,Annie LeibovitzHerb Ritts and Terry Richardson, among others. The deluxe edition comes slipcased in white cabra leather and retails for $350; a black, cloth-bound version (pictured) runs $125.

The book boasts contributions from top editors Greydon Carter of Vanity Fair, Anna Wintour of Vogue and Bridget Foley of W.

Ford, a native of Austin, Texas, who was raised in Santa Fe, N.M., has won numerous design awards, including four from the Council of Fashion Designers of America and five VH1/Vogue Fashion Awards.

Sotheby’s sets new records, spurs medium’s next phase

By LAURA HUMPHREY
Contributing Editor

NEW YORK (Fotophile.com) — To the delight of auction houses and many in the photo world, it has become accepted that each season sees auction records broken for the highest amount paid for a photograph. The previous record was set just a few months ago by Richard Prince‘s Untitled “Cowboy”(1989), which sold for nearly $1.25 million at Christie’s in November 2005.

The sale of photographs from the collection of the Metropolitan Museum of Art at Sotheby’s on 14 February 2006 broke this record three times. Two important and rare Alfred Stieglitz photographs of Georgia O’Keefe, the “heroic” nude and a portrait of the artist’s hands, sold for $1.2 million and $1.3 million, respectively, without buyer’s premiums. This alone was cause for celebration, clapped hands, and raised eyebrows but seemed almost lackluster when compared to the evening’s sale of Edward Steichen‘s The Pond — Moonlight (1904). This piece, at just over 16 x 19 inches, sold for $2.6 million — essentially the total of the last three auction records added together. It was purchased by Peter MacGill of Pace/MacGill Gallery on behalf of a private client. The estimate, which Sotheby’s sets in accordance to current trends in the retail and auction markets, was $700,000 to $1 million.

Unlike the Prince photograph, there probably won’t be much debate over the high value given the Stiechen and Steiglitz photographs: Each is a rare print by a landmark artist. It can be argued that the Stiechen photograph is unique, given the painstaking process he undertook to create the soft light and layered colors of the night scene. On top of that, it would be hard to match the glowing dual provenance of these photographs having come from the Met out of its Gilman Paper Company acquisition.

While it was expected that the Stiechen would break the previous auction record, more of a surprise was the exorbitant prices paid for many of the lesser works of the sale. Most notably, a group of three Jaromir Funke prints went for 18 times the top of the estimate given by Sotheby’s. The heated battle on the auction floor lead to a buyer’s price far and away above the typical values for top Funke prints on the retail market. The estimate was set at $5,000 to $7,000 but sold for $130,000, without buyer’s premiums, to a private client.

This means good things for Sotheby’s but may be mixed for private dealers and galleries. In this sale it practically became standard for each lot to sell for at least double its estimate. Yet comparable pieces for many of these expensive lots can be found on the retail market for prices much closer to the estimates. The main difference is that the photographs in this sale all came with such sterling provenance. Perhaps the most interesting result of this sale will be to see how galleries and dealers adjust the values of their wares, if at all.

Another aspect to consider is the role of the actual artists in the rapidly escalating auction market. Photographers tend to be more closely involved with the galleries that represent them than with auctions. Auction houses do receive works from artists’ estates, but more often auction consignments come from people other than the artist or estate. Case in point, the record-breaking Prince photograph was put up for sale at Christie’s by an anonymous consignor. Prince himself was so uninvolved in the process that he was, according to PDN, “at home wrestling with [his] 8-year-old daughter in [his] bed watching the World Series of Poker, eating the last of [their] Halloween candy” while his photograph made auction history.

This week witnessed a truly historical event for the esteem of photographs in the larger art market. While this record may not be broken for some time, it is clear that the photography market is on the rise. This will always be a good thing for collectors. But for many in the photo world, the question now is: Who will be able to cash in?

Raghubir Singh’s images of India: ‘Nation-scaled and highly variable’

River Of Colour: The India of Raghubir Singh
River Of Colour: The India of Raghubir Singh

In its March 2000 issue, Art in America reviews a posthumous exhibit of work by Raghubir Singh, saying that, “As personal as his photographs undoubtedly are, Singh’s mise-en-scènes are nation-scaled and highly variable …”

The six-page, in-depth article takes a look at the color photography Singh created in his prolific career.

“It could become, for India, what Robert Frank’s The Americans has been in this country,” writes P.C. Smith.

The exhibit was organized by the Art Institute of Chicago, which hosted the show 23 January 1999 through 2 May 1999.
Singh’s 13th and last book, River of Color: The India of Raghubir Singh, was published shortly before his death last April.