We have already featured 2 posts from Contributor Wayne Ford, the first looking at photographer Paolo Roversi, and the second, Philip Toledano. Below are a few more posts that#picbod students would do well to pore over, click on the image to hit the jump.
These photographs depict people whose lives Strömholm shared, and whom he believe he understood; they are images, he would write, ‘…of women — biologically born as men — that we call “transsexuals.” As for me, I call them my friends of Place Blanche.’
Newman’s oeuvre is marked by reoccurring themes, notably his portraits of artists, such as Braque, Miro, whom he had met in New York in the 1940s, and Warhol, Frank Stella, Claes Oldenburg and Louise Nevelson, who he photographed throughout the 1960s and 70s.
As we explore the archive, images and stories begin to emerge, each vying for the viewers attention. A tear sheet from a magazine grabs my attention. It shows a black and white studio portrait of a young girl looking directly into Grey’s lens, as I study the image which was made in January 1964, a sense of familiarity begins to take hold…
Working exclusively in black-and-white Høyland presents a poignant and sensitive visual essay in The Brothers, which reflects a rapidly evaporating way of life. From the first photograph in the book, of the defiant and bare chested brothers, arms crossed, and eyes firmly focused upon the photographers lens; to the pair stood high above the hamlet, binoculars raised as they enjoy their favourite past-time of birdwatching; to their return from the weekly supermarket trip, their laden backpacks bulging, as they make their way home along the footpath that winds through the small community of log cabins that cling to the hillside of Tessanden; we enter a community of simplicity and purity, that remains almost forgotten, where the brothers eked out a living by turning their hands to a myriad of odd jobs.
Whilst we experience the same simplicity of form and composition in both Ciaparra’s personal and fashion photographs, the latter is marked by a painterly chiaroscuro, that gives these portraits a distinct warmth and visual vitality.
Here in this rarefied world of research, where the visual arts and science collide, Maisel became captivated by the x-rays of art objects from the Getty Museum’s permanent collection. As he studied these ghostly, haunting images, the x-rays appeared in his view to surpass the power of the original objects, as the ‘spectral renderings seemed like transmissions from the distant past, conveying messages across time,’ and connecting the contemporary viewer to the pulsating core of these ancient works.