Tuesday, 25 April 2017

Women Street Photographers

Image above by Elisabeth Neudorf, form the Series Super Pussy. 

Sometimes we get limited by the smallness of our minds and the narrow ways in which we see definitions. If I think of landscape photography, if I google landscape photography, I come up with something bloody awful with pictures of lakes and sunflowers. 

Same thing happens if I google fashion photography. The most awful dross comes up. 

And the same thing (with one or two exceptions) happens for street photography. It's a shocker.

But I love landscape in its more complex forms. It tells you something about the land and how we live it, and the best work involves touch and sound and darkness and beauty. And I love fashion when you escape the constrictions of a narrow definition. It's the same with street photography once you get away from the limited perspective so many people have, myself included.

I remember going to see the Open City exhibition of street photography a few years back. It had Klein and Frank and Moriyama in there which was great but it went way beyond that to include Wolfgang Tilmanns, Philip Lorca diCorcia, Nikki S.Lee, Catherine Opie and Susan Meiselas. The criteria was location and a forward looking perspective, not a restricted view to the past. Age, gender, and ideology were secondary to being interesting and making interesting work. It felt very free and open and I loved it so much. 

A short while ago, there was a post on Facebook about the lack of women street photographers. I thought about this and wondered who you could include. I could think of a few people but not so many. 

So I put up a post on Facebook and a whole bunch of names suddenly came forward. What was interesting was the sheer range of perspectives that were being expressed.  While people like Elizabeth Neudorf and Amy Romer look at the power structures of the street and how they connect to gender, class and migration, others take a more conceptual view. Still others look at community and collaboration, some are voyeuristic and then there are those with more traditional view.  

A lot of the time street photography is decried for having too male a perspective, for its voyeurism and lack of ethics. But there are women who have a voyeuristic approach too, and for me some of the most interesting work is in-your-face and quite confrontational. 

I still think a lot of people find that difficult to handle and try to limit what people can photograph due to their own gender based prescriptions of what photgraphy should be. They do it with age, and race and ideology too, and it always limits what you can photograph and what you can see. The great thing about the responses on the Facebook post was the openness, freedom and delight of the respondents. There wasn't a generic closedness about what street photography could be. 

Anyway, here are some of the photographers who got mentioned - it's not exhaustive (Diane Arbus and Helen Levitt aren't in there for starters). Some are classic street, some the street definition might be stretching it a bit, for some an interaction with public spaces is only one aspect of their work, but so what, who cares (not me), some are advancing photography in public spaces into new and exciting areas. And this is just a small cross section. There are fantastic women street photographers out there.

And for more on women street photographers, go to Petapixel here and the Guardian here. 

Image above from The Dark Figure by  Amy Romer 

The two images above are from Byker by Sirkka-Liisa Konttinen 

Image above by Maria Plotnikova http://mariaplotnikova.com/

Image above from the Daily Street by  Michelle Groskopf

More Daily Street by Darcy Padilla 

Above image by Lavinia Casaburo

Street Dailies by Amy Touchette.

Diane Beals 

Above image by Betsy Karel

Above image by Jane Macneil 

Tish Murtha

Monica Tiwari

Above image by Anushree Fadnavis

Vivian Maier

Lauren Welles

Above image by Hannah Starkey 

Image above from Yu by Dragana Jurisic

Jeanine Buckley

Haley Morris-Cafiero

Picture above from Unlawful Meetings by Lina Hashim

Image above by Susana Raab, one of my favourites!

And that's it for now. I'm sure there are many, many more from different parts of the world. So do feel free to post additional links in the comments. Thanks to everybody who made a suggestion and apologies to anybody I missed out. 

Monday, 24 April 2017

While Leaves are Falling: Un libro eccelente sulla schizoprenia

Oggi, scrivo un recenzione del libro While Leaves are falling da Takahiro Kaneyama.

Questo libro racconta la storia della famiglia di Kaneyama. È una storia sobre le donne nella famiglia; sua madre, due zie e sua nonna. Quando Kaneyama era un ragazzo, sua nonna era come sua madre perché sua vera madre è ammalata di schizofrenia.

Poi la nonna mori e la madre divenne più malata e malata. Lei crede  è un cantate di karoke professionale. Vive in ospedale dove lei canta e lei fuma.  È molto triste e le immagini sono molto bello e emotive.

When Leaves are Falling  è una album familiare con una differenza; racconta una storia della malattia della madre. All'inizio vive in un appartemento. Alla fine, vive in un ospedale. In mezzo, mangia nel ristorante, cante e lei viaggia nelle montagne del Giappone con sua famiglia.

Questo libro è un libro dove il viso della madre è come un maschera. Non sappiamo cosa la madre pensa pero sappiamo lei è in un mondo diverso.

È molto molto buono!

Compra il libro qui. 

E con Google Translate per gli Inglesi pigri

And with Google Translate for lazy English

Today, I write a review of the book While Leaves are falling by Takahiro Kaneyama.

This book tells the story of Kaneyama's family. It is a story of women in the family; Her mother, two aunts and her grandmother. When Kaneyama was a boy, her grandmother was like her mother because her true mother was ill with schizophrenia.

Then Grandma died and her mother became sicker and sicker. You believe it is a professional karoke sang. She lives in the hospital where she sings and she smokes. It is very sad and the pictures are very beautiful and emotional.

When Leaves are Falling is a family album with a difference; Tells a story of her mother's illness. At first he lives in an apartment. In the end, he lives in a hospital. In the middle, eat in the restaurant, sing and she travels in the mountains of Japan with her family.

This book is a book where the mother's face is like a mask. We do not know what the mother thinks but we know she is in a different world.

Is very good!

Buy the book here.

Tuesday, 11 April 2017

The Post-TV Interview Staring Competition. It really exists!

This is one of the strangest things I've ever seen. It's Taryn Simon being interviewed on Russian TV in Moscow and being asked to stare at the interviewers for a few minutes at the end of the interview. Her discomfort is palpable and understandable.


What is going on here?

Apart from they want some shots of her looking shifty.

And of course it gives me an excuse to run the Big Train Staring Competition Final footage again. I never thought I'd see it in real life, but here it is courtesy of some creepy TV interviewers.

Monday, 10 April 2017

The Worst Restaurant Review ever. With the pictures to prove it.

Who says we don't believe photography when we want to?

I'm believing in Jay Rayner's pictures of his meal at Le Cinq in Paris (Meal for two, including service and modest wine: €600 (£520)). That's because I want to believe them.

They accompany a scathing, scathing, scathing review of the restaurant. Here's the basic idea of ow bad it is

'In terms of value for money and expectation Le Cinq supplied by far the worst restaurant experience I have endured in my 18 years in this job. This, it must be said, is an achievement of sorts.'

You can read more here.

And more here.

From a visual point of view, it's the perfect example of the importance photography plays in the real world, and of the unpredictability of the overlapping of its different functions. Here you have press images backfiring (not through the fault of the photography. The food looks great) even though there is nothing about them that is false as long as you understand exactly what they are used for. If you think they represent any specific meal or experience, well, they don't.

And here are Rayner's notes on the differences between the images.

Spot the difference

Some readers may notice a difference between my description of the onion dish – “mostly black, like nightmares” – and the picture of it above, which is golden and rather beautiful.
There’s a reason for this.
Le Cinq would not let us photograph their food, as we usually do after I’ve reviewed, and insisted that we use press shots. This is extremely unusual. However, I did take pictures during the meal, on an iPhone 7 using the available light. And that makes things a little clearer, as you can see.

Anyway, here are Rayner's pictures of his meal doubled up with the restaurant's pictures.

'Sticky, like the floor at a teenager’s party’: gratinated onions.

Photograph above: Jean Claude Amiel

Photograph below: Jay Rayner

 ‘Draped in an elastic flap of milk skin’: chocolate mousse cigars.

Photograph above: Jean-Claude Amiel

Photograph below: Jay Rayner

The Smell of Paper

There was a stand at Bristol Artists' Book Exhibition last week where you could commission a poem for a pound.

The idea was started by Amber Hsu and she is sometimes joined by Gareth Brookes. At Bristol they had a queue of poems to tap out on the Remington typewriter.

My poem choice was the smell of paper and the poem created by Hsu is quite beautiful, poignant and touches on those ineffable moments that make books such description-defying objects.

It is also an example of how something that seems quite distant is made completely accessible and desirable - qualities we don't necessarily associate with poetry. The thing is Hsu and Brookes are drawing people in - they are making poetry accessible in a multitude of ways.

This is what Hus says about One Pound Poems.

People always seem to be positing whether poetry is dying as an art form (look two examples of people asking here and here). A lot of poetry gets tucked away in rarefied, literary journals that just aren’t that accessible. Everyone says that no one’s buying poetry anymore and no one’s willing to slow down and take the necessary time for poetry’s rewards.

But if this experiment has been proof of anything, it’s that people want more poetry. Seriously, they will literally stand in line and wait for it. See the pic below? That’s an actual QUEUE we had going at the Hackney Fleamarket DIY Art Market (which you should totally check out if you haven’t already, and btw if you don’t know Gareth’s comics and zines you should totally go and get each and every one of them here too because they are all amazing). We actually had to turn people away at the end of that day. Pretty good going for two random kids and a typewriter, eh?

You can read more about One Pound Poems here. 

So one week I get a poem about the smell of paper. The next week there's an article about the smell of paper in the Guardian, in this article, Can you judge a book by its odour.

This is about the odours that books have, our emotional and descriptive responses to them. and research by Cecilia Bembibre that has attached these smells to specific chemicals that date the books. Somebody has even invented a book odour wheel. This is from the text.

Audience members responded with their own sense impressions. Peter, a pensioner, said he experienced books as smelling of salt and pepper – “that dryness when you open the cupboard … with a touch of the sea”, while 46-year-old Donna confessed that she had recently bought a book for her young son partly because it “smelled of the rain”.
To conservators and historians, smell has always played an important role in assessing the origin and condition of historic books, and in working out how to look after them. “I have no vocabulary to define this, but there is a curious warm leathery smell to English parchment, unlike the sharper, cooler scent of Italian skins,” wrote the Cambridge University don and librarian Christopher de Hamel in his bestselling Meetings with Remarkable Manuscripts.
But that lack of vocabulary could be about to change, thanks to a groundbreaking project by researchers at UCL Institute for Sustainable Heritage, who have devised a way of relating such apparently subjective descriptions directly to the chemical composition of books. In a paper published this week in the journal Heritage Science, Cecilia Bembibre and Matija Strlič describe how they analysed samples from an old book, picked up in a second-hand shop, and developed a “historic book odour wheel”, which connects identifiable chemicals with people’s reactions to them.

Thursday, 6 April 2017

Death of A Hasselblad!

I've had lots of cameras die on me. But the death of my Hasselblad was especially expected. These pictures heralded the end - loose light-leaking back, un-synched lens, flappy auxilliary shutter, the last rolls were a death rattle of black, blur and the ultimate Malevichian end!

Wednesday, 5 April 2017

John Myers. Pictures from the Unbeautiful World

John Myers is a somewhat ignored English photograph whose work in the Midlands in particular is, in its quiet way, epoch defining and reflective both of the New Topographics and of the working practices of the  British Colour Photographers that would come in the late Seventies and early eighties.

Photographs of Middle England shows his portraits of British people in their interiors, he shows series on televisions (and series on televisions are great!) and he shows pictures of the boring side of 1970s suburban England via his hometown in the Midlands, Stourbridge ( and 1970s suburban England could be mighty boring).

He had a show at the IKON Gallery in 2012 which led to a spurt of interest and now his work is being shown again (catch it until 29th April at the Gageway Gallery in Luton) which you can buy in this Cornerhouse publication. It's called ...the world is not beautiful. Fabulous!

Buy ...the world is not beautiful here. 

Read Francis Hodgson on why the work of John Myers is almost forgotten. This is an article by Simon Denison for Source Magazine. And this is from an article by Stacy Baker on Myers in the New York Times.

'For Myers, the real world was Stourbridge, the “normal small English town” that has been his home for nearly 40 years, and where most of his pictures were taken. His subjects, shot using a 4X5 Gandolfi camera, were people he knew and their children, as well as the houses and roads around town. “There’s nothing particularly remarkable about where I actually ended up working and living and eventually marrying and settling down,” he said. “This is the world that the great majority of people live in.”

Myers stopped photographing in 1988 when the Stourbridge College of Art faced closure, and a lot of his time was spent “trying to save my job.” Stourbridge survived by merging with the University of Wolverhampton, but Myers never returned to photography. He says he doesn’t miss it. “I don’t believe in going back,” he said. “For me, the stuff in the mid-’70s, if it has got any kind of quality, it’s the excitement of discovery. It’s the excitement of coming across influences. I don’t think you can go back.”'

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