≡ the Photographer & the Archive ≡

I

mystery-man-photobooth-collection3445 Portraits of a man. More about the work HERE.

photoboothcartejeune1993detailKatherine Griffiths, Photobooth Project, since 1973. More about the work HERE.

II

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Arianna Arcara & Luca Sanese, Found photos in Detroit 2009-2010.

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Thomas Sauvin, Beijing Silvermine.

For the past three years, collector Thomas Sauvin (French, b.1983) has visited a Beijing recycling center each month and purchased color negatives for the value of the silver they contain, effectively rescuing discarded filmstrips from being melted down for silver nitrate. To date Sauvin has accumulated over a half a million photographic color negatives and has obsessively digitized each one to create an archive. The images are mostly snapshots taken by unknown photographers that were made within a twenty-year period – from the early 1980s when 35 mm color film became popular in China to the early 2000s, as consumer digital camera became ubiquitous—and thus Beijing Silvermine can be read as a unique portrait of China’s capital city from the end of the Cultural Revolution to the country’s rise in the global economy.” excerpt from the Museum of Contemporary Photography, Chicago.

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Simon Menner, Images from the Secret Stasi Archives or: what does Big Brother see, while he is watching?

Berlin-based artist Simon Menner (German, b. 1978) also worked with highly sensitive and controversial materials when he researched the archives of the former German Democratic Republic’s State Security Service (STASI). This archive was made public, with certain limitations, after the Berlin Wall came down in 1989. Known to be one of the most effective Cold War surveillance apparatuses, the STASI had more agents, proportionally to its country’s population, than either the CIA or KGB. Menner has reproduced select pictures from the archive and in a similar fashion to Sauvin, catalogues the images into varied groupings..” excerpt from the Museum of Contemporary Photography, Chicago.

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NSW Police Forensic Archive. Mugshots, 1912 – 1930.

If the subjects felt resentment at having their photographs taken, they mostly withheld even that feeling: one senses in the photographs an unwillingness to “communicate” with the photographic apparatus at all, a non-complying passivity, a refusal by the subjects to “let anything show”. The strict partitioning of the negatives into two or three views — face on, side on, full length — replicated the physical and psychic containment of their subjects. Encountering these images in large numbers, the truisms about the repressiveness and cruelty of the surveilling gaze, the charge that photography is inherently authoritarian and thanatotic became pointedly apposite.” excerpt from Peter Doyle’s essay Public eye, private eye: Sydney police mug shots, 1912-1930.

III

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Gerhard Richter (b.Germany, 1932), Atlas, 1962 – 2013.

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Walid Raad (b.Lebanon 1967), Atlas Group.

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Hans Peter Feldman, (b.Germany, 1941), various works.

IV

Francis Alÿs, (b.Belgium, 1959), Sleepers II, 2001. 80 slide carousel projection.

km9Duarte Belo, (b.Lisbon, 1968).

V

Steve McQueen (b.UK, 1969), For Queen and Country, 2006-07. 98 framed sheets of facsimile stamps in a wooden cabinet.

VI

Akram Zaatari, (b.Lebanon, 1966), Dance to the End of Love, 2011.

David Oresick (b.EUA, 1984), Soldiers in their youth.

VII

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Tacita Dean (b.UK, 1965), The Russian Ending, 2001.

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Mathilde ter Heijnen (b.France, 1969), Woman to Go, 2005-ongoing. Installation with postcard display (postcards can be taken for free), 2001.

VIII

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Duane Michals (b.EUA, 1932), Deja Vu, 2012. Tintype with hand-applied oil paint.

IX

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Yaron Lapid, (b.Israel, 1974), Partial Moments.

X

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