PHOTOGRAPHIE.
Artmeeting #004 – La Petite Poule Noire : « Porter un travail au. Ils sont cinq associés*, tous âgés d’une trentaine d’années, et se lancent courageusement dans l’ouverture, à Paris, d’un nouveau lieu consacré à la photographie : La Petite Poule Noire, "galerie de photographie contemporaine".
Samuel Tissier et Pauline Guéna nous font faire le tour du propriétaire d’une galerie encore en chantier (ouverture prévue le 10 avril) : un tréteau, un trépied, et c’est parti ! Ils reviennent sur leur curieux nom de baptême, nous expliquent leur mode de fonctionnement, leurs choix artistiques et leurs parti-pris, leurs liens avec l’agence de photojournalisme MYOP, et nous présentent les travaux du photographe Oan Kim dont la série Je suis le chien pitié servira d’exposition inaugurale. C’est tout de suite et maintenant sur Morningmeeting ! * les cinq associés fondateurs : Guillaume Binet, Pauline Guéna, Sophie de Meuron, Camille Pillias et Samuel Tissier. Site web de la galerie : Consulter la page Facebook de La Petite Poule Noire.
Agences d'auteurs and C° Photojournalism: they show war. Story: The Green Movement comes to inner-city West Oakland. This is an audio piece produced by J.R.
Vallery (Audio is at the bottom). A background interview with Duane Deterville of the Village Bottoms Cultural District originally published by the SF Bay View. The text of this piece also first published at the SF Bay View newspaper. With the economic depression setting in and the effects of global warming being seen all over the planet, people are having to find ways to employ themselves as well as create cost effective healthy, earth friendly alternatives to expensive fast food and cheap GMO (genetically modified organism) products. Marcel Diallo, a longtime Oakland community activist and cultural worker turned real estate tycoon, thinks that he has one of the answers, the Village Bottoms Farm in West Oakland. West Oakland, maligned as a crime-ridden inner-city neighborhood, was the first stop in Oakland for most Black families who moved to the Bay Area chasing World War II jobs.
Moscow House of Photography. Dear visitors! Please note that on November 8 th and November 11 th the museum will close at 6 p.m. We are sorry for the inconvenience. Soon Today Moscow Regional World Wide Photobiennale Fashion and Style Russia-Italy 2011 Russia-France 2010 Silver Camera Silver Wreath Sport-shot European Month of Photography Charity Gallery Glaz Photoprogram “24”
About burn magazine. Burn is an evolving journal for emerging photographers. burn was launched as an online magazine/journal on December 21, 2008, and is curated by Magnum photographer David Alan Harvey.
We publish new stories or singles at least two times per week. The burn team is: David Alan Harvey - Publisher, Editor Diego Orlando - Photo Editor & Special Projectscontact: diego@burnmagazine.org Kaya Lee Berne - Photo Editor & Production Assistantcontact: kaya@burnmagazine.org Claudia Paladini - Production Assistantcontact: claudia@burnmagazine.org Website maintained by IT specialist Haik Mesropian.
Igor posner – notes from underground. Hover over the image for navigation controls Igor Posner Notes from Underground play multimedia It started in 2006, a year when I returned to St. Petersburg for the first time in 14 years. Excerpt from a personal diary (February, 2008): “Leningrad creates a feeling of a lost and a haunted city, an open nerve, where little tragedies of every day life that seem universal are so acutely brought to surface…with its bars, streets, drunks, communal apartments this place creates a sense of an inexistent dream within an authentic nightmare, and yet paradoxically conveys a feeling of poetic nostalgia and melancholy.”
Images used in this slideshow are chapter fragments from a book project about St. THEORY: "William Eggleston - Draft of a Presentation (2003)" William Eggleston: Draft of a Presentation By Thomas Weski It’s hard for me to describe the fascination that William Eggleston’s photographs exert on me.
More than twenty years ago, I bought William Eggleston’s Guide, the catalogue of his solo show at the Museum of Modern Art in New York City in 1976. Time and again, I have looked at the color plates of this book, and I still can’t really explain why they have preoccupied me for so long. Is it the seeming familiarity of their motifs? I consider a photograph interesting whenever a photographer’s view of reality does not double my knowledge of the world, but a difference between our respective perception occurs. William Eggleston’s photographs have this disturbing quality. When I look at the more than thirty-years old photographs of Los Alamos, I recognize another attribute of all the photographs in the series. The images in Los Alamos were taken between 1966 and 1974. THEORY: "Sally Mann's Immediate Family: The Unflinching and Unaf.
Sally Mann’s Immediate Family: The Unflinching and Unafraid Childhood By Valerie Osbourn, October 27, 2006 In the fall of 1992, a traveling exhibit opened at the Institute of Contemporary Art in Philadelphia.
The collection was called “Immediate Family”, and it was by a young and lesser known photographer by the name of Sally Mann. The images, taken from 1984 to 1991 detailed the complex childhoods of her three children; Emmet, Jessie and the youngest, Virginia. At the time of the first gallery opening, Mann was unaware of the media attention she would attract, and the controversy that her work would stir up.
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