ART/IF/ACT RSS Feed News about photography and beyond ART/IF/ACT Photography and beyond [Artists / International] Broomberg, Adam - Chanarin, Oliver Artists / International Adam Broomberg (b. SA, 1970) and Oliver Chanarin (b. UK, 1971) have been collaborating for over a decade. They have produced six books and have exhibited internationally. Their monographs include Trust (2000) which accompanied their solo-show at The Hasselbad Center; Ghetto (2003) a collection of their work as editors and principal photographers of Colors magazine, Mr. Mkhize's Portrait (2004) which documented South Africa ten years after apartheid and accompanied their solo-show at The Photographer's Gallery; Chicago (2006) an exploration of contemporary Israel, published by SteidlMACK in conjunction with a solo-show at The Stedelijk Museum, Fig (2007) also by Steidl, to accompany solo exhibitions at The John Hansard and Impressions Galleries, UK. The Red House (2007) produced in the cells below the former Ba'athist party headquarters in Iraq, is published by Steidl Editions. Broomberg and Chanarin regularly teach workshops and give master classes in photography, as well as lecturing on the MA in Documentary Photography at LCC and the MFA at The School of Visual Arts in NYC. They are the recipients of numerous awards, including the Vic Odden award from the Royal Photographic Society and are trustees of the Photographers' Gallery and Photoworks. [Artists / International] Ruiz, Stefan Artists / International Stefan Ruiz was born in San Francisco, and studied painting and sculpture at the University of California (Santa Cruz) and the Accademia di Belle Arti (Venice, Italy). He took up photography while in West Africa, documenting Islam’s influence on traditional West African art. He taught art at San Quentin State Prison from 1992-1998, and began to work professionally as a photographer in 1994. He has worked editorially for magazines including Colors (for whom he was Creative Director, 2003-04), The New York Times Magazine, L’uomo Vogue, Wallpaper*, The Guardian Weekend, Telegraph Magazine and Rolling Stone. His award winning advertising campaigns include Caterpillar, Camper, Diesel, Air France and Costume National. [Artists / International] Divola, John Artists / International John Divola was born in Los Angeles in 1949. He received his BA in 1971 and his MA in 1973 from California State University, Northridge. He earned his MFA from the University of California, Los Angeles in 1974. He has been awarded four Individual Artist Fellowships from the National Endowment for the Arts in 1973, 1976, 1979, and 1990, a John Simon Guggenheim Memorial Fellowship in 1986, and a California Arts Council Individual Artist Fellowship in 1998. He has been featured in solo exhibitions around the world, including the Los Angeles, Milan, New York, Tokyo, Paris, Stockholm, and Copenhagen. His work has been collected by the Chicago Art Institute, the Center for Creative Photography at the University of Arizona at Tuscon, the Getty Museum in Los Angeles, the Victoria and Albert Museum in London, the Tokyo Metropolitan Museum, the Museum of Modern Art in New York, the Museum of Contemporary Art in Los Angeles, the International Museum of Photography at the George Eastman House in Rochester, New York, and the National Museum of American Art of the Smithsonian Institution in Washington, D.C. He has published the books "Continuity", "Isolated Houses", "Dogs Chasing My Car In The Desert", "Three Acts" and "The Green of This Notebook". [Artists / International] Adams, Robert Artists / International Are there affirmable days or places in our deteriorating world? Are there scenes in life, right now, for which we might conceivably be thankful? Is there a basis for joy or serenity, even if felt only occasionally? Are there grounds now and then for an unironic smile? ROBERT ADAMS Robert Adams is an American photographer and was born in Orange, New Jersey, in 1937. For over four decades he has photographed the changing landscape of the American West, finding there a fragile beauty that endures despite our troubled relationship with nature, and with ourselves. His photographs are distinguished not only by their economy and lucidity, but also by their mixture of grief and hope. “The pictures record what we purchased, what we paid and what we could not buy,” Adams wrote. “They document a separation from ourselves, and in turn from the natural world that we professed to love.” Adams has also written insightful and eloquent essays on the practice and goals of art, which have been collected in the volumes Beauty in Photography: Essays in Defense of Traditional Values (1981) and Why People Photograph: Selected Essays and Reviews (1994). Since 1997, he has lived in Oregon, the landscape of which has been the setting of his last 20 years of work. His work first came to prominence in the mid-1970s through the book The New West (1974) and the exhibition New Topographics: Photographs of a Man-Altered Landscape (1975). He was a John Simon Guggenheim Memorial Foundation Fellow in photography in 1973 and 1980, and he received the MacArthur Foundation's MacArthur Fellowship in 1994. In 2009, he received the Hasselblad Award for his achievements in photography. He is represented by the Fraenkel Gallery in San Francisco and the Matthew Marks Gallery in New York. [Artists / International] HIDO, TODD Artists / International Todd Hido (b. 1968, Kent, Ohio) is a San Francisco Bay area-based artist whose work has been featured in Artforum, The New York Times Magazine, Eyemazing, Metropolis, The Face, I-D, and Vanity Fair. His photographs are in the permanent collections of the Whitney Museum of American Art, New York; Guggenheim Museum, New York; San Francisco Museum of Modern Art; and the Los Angeles County Museum of Art, as well as in many other public and private collections. He is an adjunct professor at the California College of Art, San Francisco, California. Much of Hido’s work involves portraiture and urban and suburban housing across the U.S., of which the artist produces large, highly detailed and luminous color photographs. [Artists / International] Sassen, Viviane Artists / International Viviane Sassen was born in Amsterdam in 1972. She studied fashion design and photography before receiving an MFA from Ateliers Arnhem, the Netherlands. Some of her earliest memories are of life in Kenya, where she spent three years as a child. When her family returned to the Netherlands in 1978, Sassen was troubled: “I didn’t feel like I belonged in Europe, and yet I knew I was a foreigner in Africa,” she says. Ten years later, at age sixteen, Sassen revisited Kenya, and she has been traveling and working in Africa ever since. She made Parasomnia, her newest body of work, in a number of intentionally unidentified African countries, featuring anonymous subjects. Parasomnia is a category of sleep disorder whose symptoms include abnormal dreams, nightmares, and sleepwalking. Sassen has established a visual vocabulary that is stylized, symbolic and mysterious. Her aesthetic combines a sense of childhood memory, where scenes are crystallized and highly saturated with color with a photographer's sensitivity to the body and surface. The strong presence of shadow and darkness in Sassen's images provokes more questions than answers. Her portraits combine the spontaneous with the staged, and often come out of ideas that Sassen carries in a sketchbook of inspirations for future compositions. These ideas are shared with her subjects as the starting point for each photograph. [Artists / International] Hare, Chauncey Artists / International Chauncey Hare does not define himself as a photographer, but instead an engineer, a family therapist and, above all, a protester. Funded by three Guggenheim Fellowships and three National Endowment Fellowships, he spent only a short period of his life making photographs. Frustrated by the photo art world, he photographed only intermittently to 1985, when he stopped making photographs altogether. In 2000, distrusting art museums, Hare donated all of his photographs and negatives to the Bancroft Library of the University of California in Berkeley. He has an engineering degree from Columbia University, an MFA from the San Francisco Art Institute, a Masters Degree in Organization Development from Pepperdine University, and a Masters Degree in Clinical Psychology from Sierra University. He and his wife Judith Wyatt are co-authors of the denial-breaking clinical handbook Work Abuse: How to Recognize and Survive It (1997). As a licensed family therapist Hare now helps working people – in person, on the phone, and on the internet – minimize the abuse they suffer as workers in their corporate and government jobs. [Theory / Essays] John Szarkowski, Introduction to William Eggleston's Guide Theory / Essays At this writing I have not yet visited Memphis, or northern Mississippi, and thus have no basis for judging how closely the photographs in this book might seem to resemble that part of the world and the life that is lived there. I have, however, visited other places described by works of art, and have observed that the poem or picture is likely to seem a faithful document if we get to know it first and the unedited reality afterwards - whereas a new work of art that describes something we had known well is likely to seem as unfamiliar and arbitrary as our own passport photos. Thus if a stranger sought out in good season the people and places described here they would probably seem clearly similar to their pictures, and the stranger would assume that the pictures mirrored real life. It would be marvelous if this were the case, if the place itself, and not merely the pictures, were the work of art. It would be marvelous to think that the ordinary, vernacular life in and around Memphis might be in its quality more sharply incised, formally clear, fictive, and mysteriously purposeful than it appears elsewhere, endowing the least pretentious of raw materials with ineffable dramatic possibilities. Unfortunately, the character of our skepticism makes this difficult to believe; we are accustomed to believing instead that the meaning in a work of art is due altogether to the imagination and legerdemain of the artist. Artists themselves tend to take absolutist and unhelpful positions when addressing themselves to questions of content, pretending with Degas that the work has nothing to do with ballet dancers, or pretending with James Agee that it has nothing to do with artifice. Both positions have the virtue of neatness, and allow the artist to answer unanswerable questions briefly and then get back to work. If an artist were to admit that he was uncertain as to what part of the content of his work answered to life and what part to art, and was perhaps even uncertain as to precisely where the boundary between them lay, we would probably consider him incompetent. For full text please follow the link. [Multimedia] A lecture by Wolfgang Tillmans Multimedia A lecture by Wolfgang Tillmans at the Royal Academy of Arts in London. [Multimedia] Sherman, Cindy Multimedia Masquerading as a myriad of characters, Cindy Sherman (American, born 1954) invents personas and tableaus that examine the construction of identity, the nature of representation, and the artifice of photography. To create her images, she assumes the multiple roles of photographer, model, makeup artist, hairdresser, and stylist. Whether portraying a career girl, a blond bombshell, a fashion victim, a clown, or a society lady of a certain age, for over thirty-five years this relentlessly adventurous artist has created an eloquent and provocative body of work that resonates deeply in our visual culture. This exhibition surveys Sherman’s career, from her early experiments as a student in Buffalo in the mid-1970s to a recent large-scale photographic mural, presented here for the first time in the United States. Included are some of the artist’s groundbreaking works—the complete “Untitled Film Stills” (1977–80) and centerfolds (1981), plus the celebrated history portraits (1988–90)—and examples from her most important series, from her fashion work of the early 1980s to the break-through sex pictures of 1992 to her monumental 2008 society portraits. Sherman works in series, and each of her bodies of work is self-contained and internally coherent; yet there are themes that have recurred throughout her career. The exhibition showcases the artist’s individual series and also presents works grouped thematically around such common threads as cinema and performance; horror and the grotesque; myth, carnival, and fairy tales; and gender and class identity.