Exchange Rate, 2012 © Azhar Chougle
Here's a cheeky little series from shockingly young, Indian-born, Brooklyn-dwelling, SVA photography grad Azhar Chougle
: 'Unfamiliar Moments Across the Atlantic.'
"America, in my mind, maintains an amusing state of irony and indecisiveness. These photographs serve as a reflection of my own alienation, frustration and intrigue as I adapt to its atmosphere. Examining random encounters with the American image, the results are a baffling and bizarre recreation of a culture overlaid by a foreigner's perception."
Preventive Care, 2012
"The portrait I paint of America is an honest and playfully critical inspection that describes the way in which I relate to where I find myself."
American Spirit, 2011 Gregory Peck and Mary Badham, "To Kill A Mockingbird" © Leo Fuchs, courtesy V&M
The fabulous V&M
have another gorgeous photography collection on their hands, prints now available at affordable prices. Here's the blurb:
In the 1950s and 60s, Leo Fuchs photographed Hollwood's "Who's Who"-- Paul Newman, Marlon Brando, Gregory Peck, Audrey Hepburn, Cary Grant, Sean Connery, Shirley MacLaine, Tony Curtis, Montgomery Clift and Alfred Hitchcock, to name a few.
Marlon Brando on the tarmac, "The Ugly Americans" © Leo Fuchs, courtesy V&M
Soon Fuchs was working directly with the studios, prompting his move to Hollywood in 1961. As a freelance magazine photographer, Fuchs was one of the rare outsiders invited onto movie sets, where he captured candid shots, during both shooting and after hours while socializing with the stars and directors. His immense talent and the rapport he built with his subjects allowed him to capture intimate moments that few others were able to accomplish. (He always let the actors see his photos before he sent them to his agent.) Then, in 1964, with the support of his dear friend Cary Grant, Fuchs gave up photography and spent the next 20 years as a motion picture producer, starting with Gambit, starring Shirley MacLaine and British import Michael Caine.Shirley Maclaine and daughter Sachi, "Irma la Douce" Paris © Leo Fuchs, courtesy V&M
Recently, Leo's son, Alexandre Fuchs, found 30 trunks in storage, filled with contact sheets, negatives and original prints. Now, limited edition archival prints of some of Leo Fuchs' most famous subjects are available on V&M.
Paul Newman, "Exodus" © Leo Fuchs, courtesy V&M
My long-lost relative, Tony Curtis, "40 Pounds Of Trouble" © Leo Fuchs, courtesy V&M and another Paul Newman without his shirt because, well, yes.
Here's another find from Nordic Light. Tom Simonsen
is a gallerist and photographer who came for a portfolio review with me. I love doing them, but I worry about the conflicting information photographers must sometimes receive. Bjørn Opsahl
and I gave Tom similar reviews but Tom told me someone else told him to take this photograph of the dog out. It must be tricky to avoid taking the advice one agrees with, but Tom really took everything to heart. I'm happy to publish my two favourites from his portfolio.
Images © Tom Simonsen
© Simen Øvergaard
Simen Øvergaard is one of many delightful photo students I met at Nordic Light Photo Festival
. Simen attends Bilder Nordic School of Photography in Oslo, and this body of work is part of 'Shameless,' 37 graduating students of 2012 exploring sexuality and shame, with their own visual voice and style. Simen says his is "...a project presenting and neutralizing places that are made for humans to have sexual intercourse. Nothing to hide, it is just sex."
On Tuesday May 15th 2012, the Aday.org
initiative will invite the entire world to participate in the largest and most comprehensive photographic documentation of a single day in human history. Whether an amateur with a mobile phone camera or a professional photographer, Aday.org asks anyone - and everyone - in possession of one of the world's estimated one billion digital cameras to document their experiences of the day: uploading their images in order to create a visual archive of our lives today.
Archbishop Desmond Tutu, who sits on the Global Advisory Board for Aday.org (and will be contributing his own photographs on May 15th), comments: "Take this unique opportunity with me, and thousands of others around the world, to create a priceless collection of images, to boost understanding and enhance research and education." Fellow Global Advisory Board member, Sir Richard Branson comments: "This great project is about real people taking pictures of real life in real-time. Please get your camera and share your life on May 15."
Aday.org seeks participants of all ages, backgrounds, and from every corner of our planet: each contribution as relevant and significant as the next person's in creating this unprecedented snapshot of humanity. To help get the largest number of people involved, Aday.org has already recruited hundreds of global 'connectors' - leading lights from the worlds of photography (including 30 World Press Photo winners), journalism and academia - who will both take part on the day and spread the word as well as encourage participation among their own social networks, intranets, mailing lists, or fan-bases.
Tons of info over at Aday's website
. Join in! Image by Henrik Halvarsson for Aday.org
Unknown Soldier, 2011 © Marcin Owczarek
And now for something completely different. "My name is Marcin Owczarek and I am an artist who creates in the spirit of Surrealism." Marcin Owczarek
was born in Wroclaw, Poland in 1985 and studied photography there. He admires Dadaism as well as Surrealism. "I regard my critical collages as the prediction of human degradation. Man is imperfect. Man is a savage, greedy rebel of Nature. I stress the present process of dehumanization, mechanization and standardization of human race, false norms and illusional values that are given as the truth to society by religion, governments, laws, propaganda, the false mirror of the television..."
Focusing on the issues of mechanization and standardization, he tackles them in an antiutopian style, depicting the total capture of the spirit by the machine world. He reflects: "In the times of old Celtic celebrations there were enormous figures made of wood or cane, filled with living people and them burned. I have the impression that nowadays we have superseded these Celtic figures by concrete blocks of flats, dead peninsulas, where we undergo geometrical unification and from which we shout 'like martyrs being burnt alive while still giving songs of life from their stakes'. (Artaud)"View the full screen magazine photo feature.
Visit Marcin on Facebook
Bjørn Opsahl and I met at Nordic Light last week. We knew we were going to be on a panel discussion together but didn't know anything about each other. Fashion and portrait photographer
Bjørn is obviously a bit of a heartthrob and hero, some of the students in the audience for his presentation were gooey. Bjørn was self-effacing during his great slideshow, claiming to be nervous to present in English - he was flawless. He talked about having been a roadie and a rocker and his progression to shooting bands, with no formal photographic education; how being ballsy is how to get great shots, especially when you're shooting celebrities; doing anything that's needed to get the shot (like getting a full back tattoo) and the skills required when handling handlers.
This particular photograph was the culmination of a few days stalking a Hollywood Superman look-alike. Bjørn talked about how he crawled the curb each morning until he got the right shot.
's exhibition CONTACT/S
, hosted most recently at Nordic Light
, is monumental.
One would not expect anything less - the show, the layout, photographs from the building of the Berlin Wall to the falling of the Twin Towers, there's nothing to be done but really see, remember, hold photographers in awe and, if you're like me, let the tears run. Perhaps the one uplifting series was the gorilla who rescued a little boy who fell over the railings at the Chicago zoo showing us the humanity we can't see in most of the rest of the photographs. Even the first second of the new millennium, shot in Times Square, is full of Guiliani's disturbing mug.
And of course, the contact sheet is disappearing fast.
Leaving the show, I felt John Botte's interview deserved another airing.
John Botte: The 9/11 Photographs from In The Loupe on Vimeo.
Title: untitled. Artist: unknown. January 2010, Berlin. Photo © Koen van de Wouw
is an online exposition. It is a collection of photographs taken of orphaned art in its final resting place. It's a commemorative album of forgotten human imagination."Title: untitled. Artist: unknown. March 2011, Amsterdam.
"I walked in the centre of Amsterdam, minding my own business, when I noticed a stray piece of artwork lying next to the trash. I thought maybe this was the first time that this painting had seen the light of day. I wanted to adopt it, but then I realized that this was a big moment for the painting - its debut".
Title: untitled. Artist: unknown. July 2010, Los Angeles.
"For young artists, it is difficult to get your work onto a stage to be
seen. It's not easy to get a place in a museum or at the current photo
exhibitions. This is why I chose to create an online exposition. It's
cheap and the whole world can see it."
Title: untitled. Artist: unknown. April 2009, Amsterdam.
Title: untitled. Artist: unknown. April 2009, Amsterdam.All photographs © Koen van de Wouw
'Cruel Story of Youth' © Jennifer Loeber
Counter Culture Summer Camp sounds wonderful; we uptight Brits didn't do this sort of thing... Jennifer Loeber
enlightened me by sharing her project 'Cruel Story of Youth' and speaking from the heart.
"This series explores my personal reconciliation with the slowly fading memories that once had an indelible impact on my path to adulthood. I spent several weeks living with and documenting the emotional landscape of the current inhabitants of the counter culture summer camp I attended as a teenager as part alumnus, part outsider. Connecting with my subjects through a shared history afforded me the trust necessary to be able to watch events unfold without censorship. Drawing from my own self-discovery within this same space, I focused on conveying the spontaneity and supportive atmosphere that is the foundation and legacy of the camp."