Deborah Turbeville was one of the most revered fashion photographers working during the 1970s and ’80s, and her legacy has shifted the way we view women in fashion imagery. Beginning as fashion editor at Harper’s Bazaar, Turbeville’s entry into image making in 1966 was a six-month photography workshop taught by Richard Avedon and the art director Marvin Israel. Her editorial fashion shoots would later be featured in Vogue, Harper’s Bazaar, Nova, and the New York Times Magazine, among others, and she also worked with advertising clients such as Comme des Garçons, Guy Laroche, Valentino, and Calvin Klein.
Within an atmosphere of fashion photography dominated by highly sexualized, saturated images of women taken by men, Turbeville’s images are haunting. Shooting mainly in black and white, she portrayed women as specters; her subjects play the role of distant relatives whose pictures we might hang on our mantle. Source: Aperture.org
Rana Javadi about When You Were Dying: For me, the When You Were Dying series tells a story about the death of a beautiful era. About death of a peaceful life, when we didn’t live in a global village, the time when we lived with our own cultures, when life was not as fast as now — a life without electronic social networking, without so many environmental disasters and wars, a life with more peace in mind and the world.
In this series of work, I have used old photographs from a famous Iranian photography studio, Chehrenegar, in the city of Shiraz. The photos were taken in the courtyard of his studio in open air because of the lack of artificial light in those days.
My photographs are made of three layers: one, the original picture from 70 years ago, which is a dead and forgotten moment; the second layer is often made of dried flowers and fabric belonging to those days; and the third one is a reflection of the current environment, captured in the glass or a mirror. Of course, by creating this new layered picture, the present moment dies too, but in a way that starts another life in a new form. Source: Lensculture.com
Lucas Simões about Desretratos/Unportraits: In this series of works I invited intimate friends over to tell me a secret as I took their portrait. However, my intention was not to hear their secret, but to capture the expressions of each one at the moment they revealed their secret. I also asked each one to choose a song for me to listen to in my ear phones while I photographed them. And, after the photo session, I asked each one if the secret had a color, and these are the colors the portraits carry. From this photo shooting session I chose 10 different portraits to cut and overlap.
Diane Bielik about the series At Sea: Set in resin, transformed from flimsy photographs into solid forms these disregarded domestic images are safe now – perhaps safer than where I found them, adrift in a Bethnal Green church jumble sale. The protagonists have been extracted from the glue of the photographic image. The outline of these characters is left behind by the drag of my scalpel, like a shadow on the original snapshot photograph (or like the pre-photographic trend of tracing a figure’s outline on a wall). The familiar staged composition of family photographs emerges and the repetition of our photographic lives on the domestic stage is highlighted through the collage.
These images are from a recent history, one that looks remarkably similar to my own. This feels too young to be a ‘found’ image just yet. Perhaps this is why I feel the need to make them ‘safe’..
AM Dumouchel about the series Moments of energy between lethargy and thrill: Moments of energy between lethargy and thrills est un corpus d’oeuvres photographiques reposant sur la notion de réanimation. Ces images incarnent l’aboutissement du transfert de ma collection d’images polaroids obsolètes (chimie expirée, mauvais cadrage, image floue, etc.) en images numériques abstraites grand format.
Chacune des 14 images de ce projet en cours résulte de la numérisation de deux photographies polaroid qui ont ensuite été transformées en animation. L’animation GIF naissante (une alternance rapide entre les deux images polaroid numérisées, telle une pulsation cardiaque, générée par un algorithme) a été joué en boucle sur un écran qui a été à son tour numérisé, faisant naître l’image abstraite finale. Cette image numérique contient alors l’essence malléable des images polaroids parents et nous rappelle que la photographie, en tant que médium fluide, est une pratique hautement liée à deux concepts inséparables : ceux de la vie et de la mort.
Le processus au coeur de cette série crée des liens entre la nature spectrale de la photographie numérique et la tactilité de techniques analogues.
Quelque part entre la stimulation sensorielle de l’Op Art, l’esthétique des courtepointes et la dématérialisation de l’ère post-photographique, mon exploration vise à repenser l’art abstrait de la perspective féministe en tant que forme de reproduction générative et à reformuler l’expérience sensorielle à l’ère des technologies numériques.
Robert Shore about the series The Universal Now (excerpts): The works are created by splicing together photographs of the same London monument taken from the same place by different photographers at different times – often decades apart. ‘I think it’s quite a beautiful idea that there are these people who have stopped and placed this little circle of glass in the same spot in front of these monuments that we’re constantly passing by without really looking at them,’ says Reynolds, who grew up in London but is now based in Cornwall.
‘The buildings are the overt subject of The Universal Now but the real subject is time. We’re in this fluid river of time which is unstoppable but through photography you can have these frozen moments. When I started the series I was looking at the Lorenz Attractor and ideas about how time could be folded, about wormholes in time and how you could get loops and things could be folded back over one another.’
She describes her temporary move from London to New Mexico some years ago as a formative experience in her practice. ‘Albuquerque is a place where there is only one moment. Stuff is built and it’s never demolished because it doesn’t rust, and because there’s other land you don’t pull it down, you just build on other bits of land.’ Exposure to the more expanded New Mexico architectural horizon triggered a recognition of the palimpsest-like quality of the London landscape. ‘I’d never previously really appreciated the intense layering that’s been going on in London since pre-Roman times. It was only after I’d lived in Albuquerque that I understood how I’d been living inside this extreme compression of time and detail in London.’ With its folds and careful layering, The Universal Now is a photographic-sculptural rendering of this temporal compression.
Reynolds has a collection of 300 or 400 London guidebooks that serve as her principal source material. ‘I use a lot of photographs from the Fifties because they are very well crafted. They were taken by serious photographers at a moment when photography was really doing well. Cameras were very good and people took it seriously as a documentary medium. From the Thirties on, a lot of documenting was happening because there was an awareness that London, and Britain in general, was irreparably changing and it needed to be photographed pretty quickly. So there’s an urgency and a formal clarity in those photographs that I’ve always liked. Continue reading here.