WANAFOTO: Magnum photos

Showing posts with label Magnum photos. Show all posts

23/07/25

Martin Parr. Early Works @ f3 – freiraum für fotografie, Berlin

Martin Parr. Early Works

f3 – freiraum für fotografie, Berlin

September 13 – November 30, 2025

Siehe die Deutsche Version unten

MARTIN PARR

Osmond Fan, Manchester, England 1973

MARTIN PARR

Tom Greenwood cleaning, Hangingroyd Road,

Hebden Bridge, Yorkshire, England 1975

MARTIN PARR

Stonehenge, Wiltshire, England 1975

MARTIN PARR (*1952, Epsom, Surrey, UK) is one of the most important British documentary photographers and photojournalists. He became internationally known for his large-format, colorful photographs that humorously scrutinize British society. With his ironic and socially critical view of everyday situations, he has made photographic history.

The exhibition Martin Parr. Early Works focuses on the early work of the MAGNUM photographer and presents 75 rarely shown black and white images. Bird clubs in Surrey, pilgrimages to the Pope in Ireland, holiday trips to the Scottish Highlands, provincial football matches, and traditional village banquets are just some of the social events that grasped the young Martin Parr’s attention. Exaggeration and emphasis – two key elements of his work – run like a thread through these photographs. The strength of his images lies in the precise observation of everyday situations and in their focus on the seemingly unspectacular. Local traditions, street life, and the unforgettable fluctuating island weather: Martin Parr compels us to take a second look and cherish the funny sides of life.

MARTIN PARR

Mayor of Todmorden's inaugural banquet, Todmorden,

West Yorkshire, England 1977

MARTIN PARR

Surrey Bird Club, Surrey, England 1972

MARTIN PARR

Glastonbury Tor, Somerset, England 1975

Included in the exhibition are some of Parr’s encompassing views such as "Mayor of Todmorden’s Inaugural Banquet", from 1977, where hungry guests squeeze shoulder to shoulder, not to miss the best dish. Also outstanding is the photograph "Surrey Bird Club", which shows two couples in 1972, equipped with binoculars and engaging in their favorite hobby: birdwatching. Or "Glastonbury Tor", featuring an animal protagonist – a cow – posing like a sightseer in search of attractions at the popular tourist hotspot Glastonbury Tor.

MARTIN PARR

Steep Lane Baptist Chapel buffet lunch, Sowerby,

Calderdale, West Yorkshire, England 1977

MARTIN PARR

Elland, West Yorkshire, England 1978

MARTIN PARR

Lynotts Bar, Manorhamilton, County Leitrim, Ireland 1983

At first glance, nostalgia or romanticism seem to be at the forefront, but Martin Parr questions the subjects of his photographs and their seemingly ordinary actions. With an almost anthropological interest, he dissects our behavior, prompts us to reflect, and reveals – both humorously and critically – the complexity and absurdity of modern life.

MARTIN PARR studied photography at Manchester Polytechnic and began his career in the 1970s. Initially working in black and white, he switched to colour photography in the mid-1980s. He has been a member of the renowned MAGNUM photo agency since 1994. Martin Parr has published over a hundred books of his own and has curated numerous festivals, including the Rencontres d'Arles and the Brighton Biennale. His photographs are exhibited worldwide and are represented in many collections. The Martin Parr Foundation was established in 2014 and is based in Bristol since 2017.

Accompanying the exhibition, the publication "MARTIN PARR. Early Works" is available.

Martin Parr. Early Works was curated by Celina Lunsford (Fotografie Forum Frankfurt) in close collaboration with the photographer and the Martin Parr Foundation.

________

MARTIN PARR (*1952, Epsom, Surrey, GB) ist einer der wichtigsten britischen Dokumentarfotografen und Fotojournalisten. International bekannt wurde er mit seinen großformatigen, farbenfrohen Fotografien, welche die britische Gesellschaft humorvoll unter die Lupe nehmen. Mit seinem ironischen und sozialkritischen Blick auf Alltagssituationen hat er Fotografie-Geschichte geschrieben.

Die Ausstellung Martin Parr. Early Works konzentriert sich auf das frühe Werk des MAGNUM-Fotografen und präsentiert 75 selten gezeigte Schwarz-Weiß Aufnahmen. Vogelklub-Aktivitäten im englischen Surrey, Pilgerfahrten zum Papst in Irland, Urlaubsreisen in die schottischen Highlands, Fußballspiele in der Provinz und traditionelle Dorffeste sind nur einige der gesellschaftlichen Aktivitäten, die das Interesse des jungen Martin Parr wecken. Die Übertreibung und Zuspitzung – zwei Schlüsselelemente seines Werkes – ziehen sich wie ein roter Faden durch die Fotografien. Die Stärke seiner Aufnahmen liegt in der präzisen Beobachtung alltäglicher Situationen und in ihrer Konzentration auf das scheinbar Unspektakuläre. Lokale Traditionen, das Straßenleben und das wechselhafte Inselwetter: Martin Parr bringt uns dazu zweimal hinzusehen und die skurrilen, humorvollen Seiten des Lebens zu entdecken.

Teil der Werkschau sind auch einige von Parrs eindrucksvollsten Aufnahmen, darunter »Mayor of Todmorden’s Inaugural Banquet«, eine Szene an einem Buffet, an dem sich hungrige Gäste Schulter an Schulter drängen, um den besten Happen zu ergattern, aus dem Jahr 1977. Herausragend auch die Fotografie »Surrey Bird Club«, auf der zwei Paare zu sehen sind, die sich 1972 mit Feldstechern ausgestattet ihrem liebsten Hobby widmen: der Beobachtung von Vögeln. Oder »Glastonbury Tor«, die Aufnahme einer tierischen Protagonistin – einer Kuh – die wie eine Ausflüglerin auf der Jagd nach Sehenswürdigkeiten an dem touristischen Hotspot Glastonbury Tor posiert.

Auf den ersten Blick dominieren Nostalgie oder Romantik die Aufnahmen, doch Martin Parr hinterfragt die Akteur*innen seiner Fotografien und deren scheinbar alltägliche Handlungen. Mit nahezu anthropologischem Interesse seziert er unser Verhalten, regt uns zur Reflexion an und zeigt auf komische und kritische Weise die Komplexität und Absurdität des modernen Lebens auf.

MARTIN PARR studierte Fotografie am Manchester Polytechnic und begann seine Karriere in den 1970er-Jahren. Zunächst arbeitete er in Schwarz-Weiß, wechselte aber Mitte der 1980er-Jahre zur Farbfotografie. Seit 1994 ist er Mitglied der renommierten Agentur MAGNUMPhotos. Martin Parr hat über hundert eigene Bücher veröffentlicht und war bei zahlreichen Festivals als Kurator tätig, darunter Rencontres d`Arles und Brighton Biennale. Seine Fotografien werden weltweit ausgestellt und sind in vielen Museumssammlungen vertreten. 2014 gründete er die Martin Parr Foundation mit Sitz in Bristol.

Martin Parr. Early Works wurde kuratiert von Celina Lunsford (Fotografie Forum Frankfurt) in enger Zusammenarbeit mit dem Fotografen und der Martin Parr Foundation.

f³ – freiraum für fotografie

Prinzessinnenstrasse 30, 10969 Berlin

www.fhochdrei.org

25/05/24

Henri Cartier-Bresson @ Bucerius Kunst Forum, Hamburg - "Watch! Watch! Watch!" Exhibition

Watch! Watch! Watch!

Henri Cartier-Bresson

Bucerius Kunst Forum, Hamburg

15 June - 22 September 2024

Henri Cartier-Bresson: Henri Matisse at Home, Vence, France, 1944

Henri Cartier-Bresson: Srinagar, Cachemire, India, 1948

Henri Cartier-Bresson: Washington, United States, 1957

The Bucerius Kunst Forum is dedicating the first major retrospective in Germany since 20 years ago to the French photographer Henri Cartier-Bresson (1908–2004). Divided into several chapters, the exhibition presents Cartier-Bresson’s portraits of well-known artists and writers alongside his early, Surrealism-influenced photographs and films, as well as his later observations of everyday human behaviour. With 230 black-and-white photographs as well as articles from magazines and books, the show covers Henri Cartier-Bresson’s life work, which spanned almost the entire twentieth century.

A co-founder of the Magnum photo agency, Cartier-Bresson was one of the century’s most famous photographers. As a photojournalist, art photographer and portraitist, he created timeless compositions that would shape the style of generations of photographers to come. His expressive art was seminal in particular for the genre of Street Photography. An unerring sense for the “decisive moment” in spontaneous encounters and situations was the hallmark of his works, many of them icons of modern photography.

Cartier-Bresson already acquired his first camera in 1932, a Leica 35mm, and he began to experiment with the medium. The resulting early Surrealist works as well as a selection of his films open the retrospective. They are followed by his well-known photo features and portraits of artists and cultural figures as well as his iconic images capturing spontaneous interpersonal encounters.

Born in 1908, Henri Cartier-Bresson lived nearly to the ripe age of 96, having experienced the entire twentieth century and chronicling what he saw in his photographs. As an eyewitness, he documented a number of major historical and political events. The exhibition presents as examples his photos of the coronation of the British King George VI in London in 1937, the liberation of Paris in 1944, Germany after the end of the war in 1945, the funeral of Gandhi in 1948, the end of Kuomintang rule in China in 1948, Russia after the death of Stalin in 1954, Cuba after the missile crisis in 1963 and the long-term studies he made in France.

Henri Cartier-Bresson cultivated long-standing friendships in the world of art and culture, from which he drew lasting inspiration for his artistic work. His intimate portraits of artists, writers and photographers such as Coco Chanel, Simone de Beauvoir and Henri Matisse form an important part of his oeuvre and are on view in the exhibition.

In addition, the show also includes a selection of Street Photography depicting everyday personal interactions, both at work and at leisure. These images illustrate the signature element in Henri Cartier-Bresson’s photographs: the close observation and simultaneous analysis of human behaviour in spontaneous moments. Camera in hand, he deliberately sought out encounters with his contemporaries, capturing patterns of behaviour and snapping fleeting scenes that would otherwise have been lost in the hustle and bustle of the streets.

Henri Cartier-Bresson was long active in the communist movement, which would have a lasting impact on his political and artistic views. This was the source, for example, of his keen interest in portraying socially marginalised people. Key events in his life, such as his time spent as a German prisoner of war during the Second World War, along with several attempts to escape and his involvement in the resistance movement against the Nazis, motivated his commitment to documentary photography. With the founding of the Magnum photo agency in 1947, together with Robert Capa, Chim Seymour and George Rodger, his photo features took on an increasingly professional look. In the decades that followed, Henri Cartier-Bresson travelled to several continents on behalf of magazines and newspapers including “Life”, “Paris Match” and “The New York Times Magazine”. His photo features thus made their way around the world in millions of copies. In the exhibition, the original photographs are displayed alongside their reproductions in magazines.

A catalogue is being published by Hirmer-Verlag to accompany the show, with essays by Nadya Bair, Kathrin Baumstark, Clément Chéroux, Ulrich Pohlmann, Valérie Vignaux and Deborah Willis.

An exhibition of the Bucerius Kunst Forum, Hamburg, and the Fundación MAPFRE, Barcelona, in co-operation with the Fondation Henri Cartier-Bresson, Paris.

BUCERIUS KUNST FORUM, HAMBURG

Alter Wall 12, 20457 Hamburg

www.buceriuskunstforum.de

11/04/24

Photographer Josef Koudelka @ Pace Gallery, NYC - "Industry" Exhibition

Josef Koudelka: Industry

Pace Gallery, New York

March 29 – April 27, 2024

Josef Koudelka

Azerbaijan, 1999

Pace presents an exhibition of work by Josef Koudelka at its 540 West 25th Street gallery in New York. This is the artist’s first solo show in New York in nearly a decade, bringing together six large-scale panoramas he created between 1997 and 2010 as part of a project titled Industries. The exhibition also includes a display of small-scale, accordion-style maquettes of Mission Photographique Transmanche, Beyrouth Centre Ville, The Black Triangle, Reconnaissance-Wales, Lime Stone, Teatro del Tempo, Camargue, Piemonte, WALL, Ruins, and Solac. This presentation at Pace coincides with the release of Josef Koudelka: Next, the definitive and only authorized biography of the artist, published by Aperture.

Born in Czechoslovakia in 1938, Josef Koudelka trained as an aeronautical engineer but began photographing Romani people—their everyday lives, their struggles, and their traditions—mainly in central European countries in the early 1960s, making a full-time commitment to photography later that decade. In 1968, he photographed the Soviet invasion of Prague, publishing his works under the initials P.P. (Prague photographer). Josef Koudelka, who was anonymously awarded the Overseas Press Club’s Robert Capa Gold Medal for those photographs, left Czechoslovakia seeking political asylum in England, with assistance from the Magnum Photos cooperative, in 1970. His first book, Gypsies, was released by Aperture in 1975, and he has since produced more than a dozen publications of his work.

Josef Koudelka’s interest in the social and political dimensions of photography, evident in his earliest bodies of work, would endure through the following decades. He has been working in large-format, panoramic photography since 1986, capturing images of changing landscapes around the world—places that have been reshaped, altered, and in some cases devastated by the effects of industry, time, and war.

Adopting a semi-nomadic lifestyle in pursuit of documenting these haunting, elegiac scenes, Josef Koudelka produced deeply interconnected bodies of work that speak to the ways that the weight of history lingers within the natural world. During the late 1980s and early 1990s, the artist photographed the Berlin Wall; the streets of Beirut immediately following the Lebanese Civil War; outsized industrialization and pollution in the Black Triangle, a border region between Germany, Poland, and the Czech Republic; the Auschwitz concentration camp in Poland; and other places forever transformed by sociopolitical turmoil, violence, and environmental destruction.

Also among Josef Koudelka’s famous panoramic projects are his Ruins series, for which he photographed more than 200 archeological sites across Greece, Italy, Libya, Syria, and other countries between 1991 and 2015, and his body of work on Israel’s West Bank Wall, which he created over the course of seven trips to Israel and Palestine between 2008 and 2012.

“The face of the wounded landscape—it is marked by trouble, by suffering,” Josef Koudelka tells his biographer, Melissa Harris. “It is the same as the face of people who have a difficult life. I am interested in real people, real faces ... In this wounded landscape, I admire the fight for survival ... Nature is stronger than man.”

Josef Koudelka (b. 1938) began his career as an aeronautical engineer in Prague and Bratislava, and began photographing stage productions for theater magazines. After documenting gypsy culture in Romania, Slovakia, and Western Europe, he committed to photography full-time in 1967. The following year, Josef Koudelka photographed the Soviet invasion of Prague, publishing his images under the initials "P. P." (Prague Photographer) for fear of reprisal. He was anonymously awarded the Overseas Press Club's Robert Capa Gold Medal for this work in 1969.

Since 1986, Josef Koudelka has embraced and employed the expansive compositional format of the panorama. From his commissioned investigation of the French-English region impacted by the Channel Tunnel for La Mission Photographique Transmanche project, to his exploration of the political climate in Israel and Palestine, and his recent documentation of the persistence of classicism along the Mediterranean rim, Josef Koudelka has continuously used panoramic cameras to showcase terrains that have been significantly shaped, altered, and even devastated by the effects of industry, time, and territorial conflict.

Upcoming exhibition: Adam Pendleton: An Abstraction

PACE GALLERY NEW YORK

540 West 25th Street, New York City

www.pacegallery.com

02/10/21

Bruce Davidson and Khalik Allah @ Magnum Gallery, Paris - NEW YORK - Inaugural Exhibition

Bruce Davidson and Khalik Allah

NEW YORK

Magnum Gallery, Paris

21 October - 18 December 2021

Bruce Davidson

USA. New York City. 1980. Subway

Khalik Allah

USA. Harlem, New York City. 2014

The Magnum Gallery presents Bruce Davidson and Khalik Allah: NEW YORK. The exhibition inaugurates Paris’ new gallery located in the 11th district and for the first time, brings together the work of two Magnum photographers who, generations apart, explored New York City’s energy through their lenses.

Bruce Davidson and Khalik Allah offer two visions of urban life, above and underground, captured at different time periods, through two distinctive yet parallel viewpoints. The exhibition, which predominantly features Bruce Davidson’s vintage prints, explores themes of humanity, street life and perception, while highlighting the effects of transmission.

In 1980, Buce Davidson found a new source of inspiration in the New York subway. It was a challenging and dangerous location, but the photographer managed to retrieve striking and colorful images of passengers from this dark underworld. “Color in the subway was different. I found that the strobe light reflecting off the metallic surfaces of the defaced subway cars created an iridescence I had seen in photographs of deep-sea fish thousands of fathoms below the ocean surface, glowing under electronic flash, never having been exposed to light before.” His underground expeditions eventually culminated in the publication of Subway in 1986, a seminal, epoch-defining series that served as both a captivating study of light and color as well as a historical document of an elemental part of New York.

Bruce Davidson paved the way for new generations of photographers including Khalik Allah who, more than 40 years after the publication of East 100th Street, shed light on a community in distress, riddled with poverty and addiction. Khalik Allah cites Bruce Davidson as one of his major influences and specifically focused his lens on the black community frequenting the corner of 125th Street and Lexington Avenue. Beginning in 2012, Khalik Allah would return to this corner, shooting only at night. Through the flash of his camera and vibrant colors, he sought to restore the dignity of the dehumanized inhabitants of this area of the city. The resulting pieces are vibrant depictions of humanity. In Souls Against the Concrete, published in 2017, Allah comments: “This body of work is about redemption, strength, and resilience amid addiction, poverty, and street life.”

When considered together, the work in these series are characterized by the same degree of directness and proximity with their subjects. There is neither judgment nor sentimentalism. These works do not impose any moralist vision; on the contrary, they convey honest empathy and rely on genuine immersion, placing the author on the side of his subjects. Highlights in the exhibition include both color and black and white prints including striking portraits from the late 1960s and Subway views from 1980 depicting individual statuesque poses in the streets and casual scenes featuring people inside the cars.

Bruce Davidson and Khalik Allah offered a testimony of their time, respective places and moments in New York. If the gathering of their photographs shows the mutations and changes experienced by the city over time, it also attests to the immutability of many things, the city’s energy and, notably, the precarity experienced by certain communities of the city. Above all, these works are an ode to New York: the quintessential ‘melting pot,’ a city in whose history and posterity the grains of possibility are engraved.

BRUCE DAVIDSON

Bruce Davidson began taking photographs at the age of ten in Oak Park, Illinois. While attending Rochester Institute of Technology and Yale University, he continued to further his knowledge and develop his passion. He was later drafted into the army and stationed near Paris. There he met Henri Cartier-Bresson, one of the founders of the Magnum Photos. When he left military service in 1957, Bruce Davidson worked as a freelance photographer for LIFE magazine and in 1958 became a full member of Magnum. From 1958 to 1961 he created such seminal bodies of work as Circus, Brooklyn Gang, and Freedom Rides.

He received a Guggenheim Fellowship in 1962 and created a profound documentation of the civil rights movement in America. In 1963, the Museum of Modern Art in New York presented his early work in a solo show. In 1967, he received the first grant for photography from the National Endowment for the Arts, having spent two years witnessing the dire social conditions on one block in East Harlem. This work was published by Harvard University Press in 1970 under the title East 100th Street and was later republished and expanded by St. Ann’s Press. The work became an exhibition that same year at the Museum of Modern Art in New York.

In 1980, he captured the vitality of the New York Metro’s underworld that was later published in a book, Subway, and exhibited at the International Center of Photography in 1982. From 1991-95, he photographed the landscape and layers of life in Central Park. In 2006, he completed a series of photographs titled “The Nature of Paris,” many of which have been shown and acquired by the American Academy of Arts and Letters.

Bruce Davidson received an Open Society Institute Individual Fellowship in 1998 to return to East 100th Street His awards include the Lucie Award for Outstanding Achievement in Documentary Photography in 2004 and a Gold Medal Lifetime Achievement Award from the National Arts Club in 2007. Classic bodies of work from his 50-year career have been extensively published in monographs and are included in many major public and private fine art collections around the world. He continues to photograph and produce new bodies of work. Bruce Davidson was inducted into both the Leica Hall of Fame in 2018 and the International Photography Hall of Fame in 2019.

Khalik Allah

Souls Against the Concrete

University of Texas Press, 2017

208 pages | 12 x 7.75 | 105 color photos

ISBN: 978-1-4773-1314-5

KHALIK ALLAH

Khalik Allah is a New York-based photographer and filmmaker who practices Camera Ministry with an eye as open as his heart. The resulting work has been described as “street opera” and noted for its beautifully visceral humanity.

After a number of short films that reflect relationships formed through portraiture, Khalik Allah advanced his artistry with the feature length documentary Field Niggas (2015), shot at nighttime on the corner of Harlem’s 125th St. and Lexington Avenue. This corner also served as the basis for his first photography book Souls Against the Concrete, published by University of Texas Press in 2017. Khalik Allah continued with Black Mother (2018), an ecstatic expression of reverence and realities across Jamaica. This award winning film has been seen in festivals, museums and schools around the world; further released in the UK and the US through distributors Dogwoof and Grasshopper Film. Khalil Allah’s films are available on the Criterion Channel.

Khalik Allah is currently at work on his second photo book from 125th and Lexington. He became a Magnum Nominee member in 2020.

MAGNUM GALLERY PARIS

68 rue Léon Frot, 75011 Paris

www.magnumphotos.com

29/05/21

Henri Cartier-Bresson @ Musée Carnavalet, Paris - Revoir Paris

Henri Cartier-Bresson - Revoir Paris

Musée Carnavalet, Paris

15 juin - 31 octobre 2021

HENRI CARTIER-BRESSON

Les quais de Seine, 1955

Collection du musée Carnavalet – Histoire de Paris

HENRI CARTIER-BRESSON

Sous le métro aérien, boulevard de la Chapelle, 1951

Collection de la Fondation Henri Cartier-Bresson

Le musée Carnavalet – Histoire de Paris s’associe avec la Fondation Henri Cartier-Bresson pour mettre en lumière l’importance de Paris dans la vie et l’oeuvre d’Henri Cartier-Bresson, l’un des plus grands photographes français du XXe siècle. Le musée revisite les liens tissés par l’artiste avec une ville où il a toujours habité et qui l’a nourri artistiquement. Après des débuts marqués par l’influence du photographe Eugène Atget et des artistes surréalistes, Cartier-Bresson se découvre voyageur au long cours, avec Paris comme port d’attache. Dans cette ville, qu’il ne cesse de redécouvrir, c’est d’abord l’être humain qui l’intéresse. Il le saisit dans la rue ou à l’occasion de rencontres. Il témoigne aussi de grands événements d’actualité comme la Libération de Paris en août 1944 et Mai 68. Il gagne, dès qu’il le peut, les lieux de manifestations.

A Paris, comme ailleurs, son appareil photo ne le quitte pas. Photographier est une respiration, une affirmation, une protestation parfois. Ses images parisiennes qui figurent en bonne place dans son oeuvre, témoignent de ses errances mais sont également prises dans le cadre de reportages et commandes souvent méconnues pour la presse internationale – Cartier-Bresson n’en retient généralement qu’une image dans ses livres et expositions. Cette mosaïque définit un flâneur particulièrement attiré par les quais de la Seine et le Paris des marges.

Fruit d’un travail de recherche de plusieurs années, l’exposition présente des tirages originaux dont une trentaine d’inédits, des publications, ainsi que des enregistrements audiovisuels de l’artiste. Les photographies sont issues pour majorité des collections du musée Carnavalet et de la Fondation Henri Cartier-Bresson.

Conçu conjointement par les deux institutions, ce projet résonne avec l’exposition Eugène Atget – Voir Paris présentée à la Fondation HCB et réalisée à partir des collections du musée Carnavalet.

Un ouvrage comprenant les essais des commissaires et 200 reproductions est publié aux Éditions Paris Musées.

COMMISSARIAT GÉNÉRAL : Valérie Guillaume, directrice du musée Carnavalet - Histoire de Paris et François Hébel, directeur de la Fondation Henri Cartier-Bresson

COMMISSARIAT SCIENTIFIQUE : Anne de Mondenard, conservatrice en chef, musée Carnavalet - Histoire de Paris, Agnès Sire, directrice artistique et Aude Raimbault, conservatrice des collections, Fondation Henri Cartier-Bresson.

MUSEE CARNAVALET - HISTOIRE DE PARIS

23 rue de Sévigné, 75003 Paris

www.carnavalet.paris.fr

27/01/21

Susan Meiselas @ Milwaukee Art Museum - Through a Woman’s Lens - Virtual Exhibition

Susan Meiselas: Through a Woman’s Lens

Milwaukee Art Museum - Virtual Tour

Through March 14, 2021

SUSAN MEISELAS

[1976 DNC], 1976; printed 2020.

Gelatin silver print, 8 x 10 in.

Courtesy the artist.

SUSAN MEISELAS

Roseann on the way to Manhattan Beach, New York, 1978,

from the series Prince Street Girls, 1975–92.

Courtesy the artist.

A virtual exhibition presented by the Milwaukee Art Museum highlights the four decades of work of documentary photographer Susan Meiselas, and is the first to focus on the artist’s long-standing commitment to working with and sharing the stories of women. Susan Meiselas: Through a Woman’s Lens presents never-before-shown photographs alongside iconic series that raise challenging questions about the documentary practice and the relationship between photographer and subject.

“Susan Meiselas’s collaborative practice honors the people she photographs and those that view her pictures,” said Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts. “By intuitively following her own instincts over the course of her career, Meiselas has built a unique body of work that examines the many lives and stories of women that might have otherwise been overlooked. Her inclusive process brings a diverse array of voices to bear on issues from human rights to civil conflict, and encourages us to become more responsible in how we consume and interpret images.”

Throughout her nearly fifty-year career, Susan Meiselas has consistently focused her lens on what she believes the wider public needs to see, including women living and working at the edges of the mainstream. Her subjects have ranged from carnival strippers at county fairs to women engaged in resistance in Central America. Collaboration is an integral part of the artist’s practice, and she works closely with her subjects to bring their voices to the issues they face, often returning to communities she has photographed to reconnect and examine how their perspectives have changed over time. This collaborative spirit was extended in 2020 through the creation of an expansive virtual tour, which allows visitors near and far to hear from not only the curator and the artist but also the people in her photographs and her many partners.

The exhibition features selections from the artist’s earliest series, including 44 Irving Street, Prince Street Girls, and Carnival Strippers; vivid color photographs that Susan Meiselas made during the Sandinista revolution in Nicaragua; and never-before-shown pictures of women training in the U.S. Army, as well as an examination of the experience of a Filippino mail-order bride.

Through a Woman’s Lens is also showing photographs that Susan Meiselas took at the Democratic National Convention in 1976, which examined the role of women in the party. This exhibition marks the 100th anniversary of the ratification of the women’s right to vote.

“I am excited to have this opportunity to share some of my lesser-known work from the 1970s and reflect on how my practice has evolved,” said Susan Meiselas. “I was part of the generation following the Women’s Movement and benefited from what others had fought hard for. I felt I could explore as broadly as I could imagine and challenge myself to go beyond boundaries and have these experiences shape my thinking and my life. ”

Since 1976, Susan Meiselas has been a member of the international photographic cooperative Magnum Photo. The cooperative is composed of some of the world’s most renowned photographers, who “share a vision to chronicle world events, people, places and culture with a powerful narrative that defies convention, shatters the status quo, redefines history and transforms lives.”

In 2019, Susan Meiselas received the Deutsche Börse Photography Foundation Prize Prize for her survey show Mediations, which was organized with the Jeu de Paume in Paris and later traveled to the San Francisco Museum of Modern Art. She was also the first winner of the Women in Motion photography prize at the Rencontres d’Arles festival. She has received numerous additional awards, including a MacArthur Fellowship in 1992.

Susan Meiselas: Through a Woman’s Lens is curated by Lisa J. Sutcliffe, Herzfeld Curator of Photography and Media Arts, Milwaukee Art Museum.

MILWAUKEE ART MUSEUM

700 N. Art Museum Drive, Milwaukee, WI 53202

mam.org

04/09/13

Expo Photo René Burri, MSM, Genève - Château de Penthes, Pregny-Chambésy

René Burri, Utopia

Musée des Suisses dans le Monde, Genève

Jusqu'au 15 décembre 2013

Affiche de l'exposition

Né à Zurich en 1933, RENE BURRI est, plus encore qu’un autre, un Suisse dans le Monde. Après avoir étudié à l’école d’Arts Appliqués de sa ville natale, il travaille tout d’abord pour le cinéma, ce qui influencera son art avant de s’orienter finalement vers la photographie. En 1955, il s’associe à l’agence Magnum et reçoit une récompense internationale pour l'un de ses premiers reportages sur les enfants sourds-muets, "Touch of Music for the Deaf", publié dans le magazine Life.

Dès 1956, René Burri explore le monde et livre des reportages photographiques pour l’agence Magnum. Il pose le pied sur chaque continent et capte, avec son objectif, les cultures les plus diverses dans un monde en pleine évolution et souvent en révolution. La photographie devient pour lui, un moyen d’expression personnel privilégié qui lui permet avant tout, de montrer des images reflétant ses propres préoccupations.

Ainsi, René Burri se lance dans une quête insatiable du meilleur de l’Homme, à une époque où tout est possible pour chacun et où les peuples se réveillent avec l’espoir irrépressible de construire un monde parfait : l’Utopie, aussi insaisissable qu’envoûtante. René Burri, pris dans cette transe communicative, fut un témoin central de cette quête mondiale.

Pour la première fois à Genève, le Musée des Suisses dans le Monde présente des photographies de René Burri. L’exposition permet de découvrir des portraits intimes et puissants de cinq artistes ayant oeuvré pour le renouveau de l’idéal utopiste : Le Corbusier, Alberto Giacometti, Jean Tinguely, Yves Klein et Pablo Picasso.

CATALOGUE DE L'EXPOSITION

René Burri – Utopia

Infolio éditions & Éditions de Penthes, Genève, 2013

Commissaire de l’exposition René Burri - Utopia, Marco D’Anna travaille également avec René Burri autour d’un ouvrage photographique commun : Projet Corrida. A 50 ans d’écart, René Burri et Marco D’Anna ont photographié la corrida. Aujourd’hui ils mettent en lumière leurs clichés respectifs dans cet ouvrage.

Projet Corrida – René Burri – Marco D’Anna

Infolio éditions & Éditions de Penthes, Genève, 2013

Né à Zurich en 1964, MARCO D'ANNA commence très jeune son activité de reporter photographe. Il obtient le Diplôme Fédéral de photographe en 1984, puis, il continue sa formation en suivant d’importants photographes, parmi lesquels Gabriele Basilico, René Burri, René Groebli, Mario De Biasi. A partir de 1985, il expose ses travaux. En 1986, il ouvre son atelier à Lugano. Dans son parcours de recherche artistique et de perfectionnement professionnel s’entremêlent de nombreuses expériences différentes, du reportage à la reproduction d’objets d’art, de la photo d’architecture à l’image publicitaire. Globe-trotter professionnel, Marco D'Anna vit et travaille à Lugano.

Musée des Suisses dans le Monde
Château de Penthes
18 chemin de l’Impératrice
1292 Pregny-Chambésy
Suisse
Web : www.penthes.ch
Page Facebook : Musée des Suisses dans le Monde // Museum of the Swiss Abroad

16/04/10

Magnum Photos pour la liberté de la presse avec Reporters sans Frontières

Magnum Photos
101 photos pour la liberté de la presse
Reporters sans frontières

« ce bel album [...] est doublement précieux : par la qualité exceptionnelle, artistique et historique des oeuvres réunies ; et parce que ces photos témoignent du talent et du courage de ces “reporters sans frontières” pour lesquels il ne saurait y avoir de Liberté sans liberté de la presse »

-– Robert Badinter dans sa préface à cet album photos.

Reporters sans frontières a 25 ans. Un quart de siècle au service de la défense de la liberté de la presse partout dans le monde. Depuis sa création en 1985, chaque fois que la liberté d’informer et d’être informé est menacée, ou qu’un journaliste est emprisonné pour avoir exercé son métier, l’organisation intervient pour rappeler que sans une presse libre, aucun combat ne peut être entendu.

Afin de financer ses actions, Reporters sans frontières a développé, depuis 1992, l’édition d’albums de photographies, trois numéros par an, au prix unitaire de 9€90. Les recettes sont intégralement reversées à l’association. Elles constituent pas moins de 50 % du budget de Reporters sans frontières.A l’occasion de ses 25 ans et de la 20e Journée internationale de la liberté de la presse célébrée le 3 mai, Reporters sans frontières s’associe à l'agence Magnum pour publier son album anniversaire : Magnum Photos, 101 photos pour la liberté de la presse.

Fondée en 1947 par les photographes de légende, Henri Cartier-Bresson, Robert Capa, George Rodger et David Seymour, Magnum Photos est une référence en matière d’intégrité photographique et de travail d’auteur. Salués pour la force de leur vision personnelle, les photographes de Magnum racontent le monde et donnent une interprétation empreinte d’empathie des peuples et des événements.

Cet album présente 101 photos prises par les plus grands photographes de notre siècle : René Burri, Robert Capa, Henri Cartier-Bresson, Raymond Depardon, Elliott Erwitt, Jim Goldberg, Joseph Koudelka, Steve McCurry, Martin Parr, Paolo Pellegrin, Marc Riboud... Beaucoup ont immortalisé les plus grands événements du XXe siècle par des images symboles qui ont façonné notre mémoire collective.

A travers cet ouvrage, c’est toute l’histoire politique et sociale de ces 70 dernières années qui est retracée. Depuis la guerre d’Espagne en 1936, le débarquement sur les plages normandes en 1944, les manifestations de mai 1968, la chute du mur du Berlin en 1989, jusqu’à la récente crise iranienne ou la guerre en Géorgie, les images de Magnum nous replongent dans l’actualité la plus brûlante de notre époque.

Pourquoi 101 photos et pas 100, comme nous avons l’habitude de le faire dans le cadre de notre collection ? Parce que nous tenions à ajouter une dernière image, la 101e, prise en 2010. Elle montre une route brisée en Haïti, après le séisme du début de l’année. Reporters sans frontières a toujours été très présente dans ce pays. D’abord, pour défendre les familles des journalistes assassinés sous la dictature. Aujourd’hui, pour être aux côtés des médias sinistrés par la catastrophe.

Magnum Photos, 101 photos pour la liberté de la presse sera mis en vente le jeudi 29 avril, au prix unique de 9€90, chez tous les marchands de journaux et dans les librairies, les magasins spécialisés tels que la Fnac, Virgin ou Cultura, les enseignes Relay, Maison de la presse, Mag presse, ainsi que sur le réseau A2presse et Solidaripresse.

Pour défendre la liberté de la presse, nous avons besoin de vous, de votre soutien. En achetant cet album, vous nous aidez à mettre à l’abri des journalistes en danger, à soutenir les familles de reporters assassinés en Iran, en Somalie, au Sri Lanka et ailleurs. En leurs noms, nous vous disons merci.

L’information est précieuse, protégeons-la ensemble !

Reporter Sans Frontière

Magnum Photos

« Rendons grâce à l’agence Magnum. Nombre des plus célèbres photographes de presse ont parcouru le monde sous son sigle prestigieux. Et ce bel album témoigne de leur talent, de leur courage et de leur humanité » écrit Robert Badinter dans la préface de ce livre.

Magnum Photos est fondée en 1947, soit deux ans après la Seconde Guerre Mondiale. Elle doit son existence à quatre photographes, Robert Capa, Henri Cartier-Bresson, George Rodger et David Seymour. Ils créent Magnum à leur image. Une agence qui accorde autant d’intérêt à la chose vue qu’à la façon de la voir.

Magnum, initialement installée à Paris et à New York (aujourd’hui également à Londres et à Tokyo) s’écarte de façon radicale des pratiques conventionnelles de la presse de l’époque : d’une part par sa structure, celle d’une coopérative d’actionnaires photographes, d’autre part par la revendication de droits d’auteurs comme propriété exclusive des photographes.

Avec Magnum Photos, les photographes se donnent les moyens de l’indépendance, corollaire indispensable de leur engagement. Choix des reportages, de leur durée, sélection des photographies, propriété des négatifs, maîtrise du copyright et contrôle de la diffusion : tous les attributs du statut d’auteur sont dictés.

Le recrutement des nouveaux membres, fidèle aux statuts de l’agence, est un parcours de l’exigence. Le candidat photographe est sous observation pour une période de quatre à huit ans avant de pouvoir accéder au rang de membre et donc d’actionnaire.

Il devra donner la preuve de sa singularité, tant par son écriture photographique que par la rigueur, la persistance de son travail de documentation et d’information.

Si le procédé est long et méticuleux il permet à Magnum de représenter autant d’approches de la réalité que d’auteurs. Aujourd’hui, le collectif est constitué de près de 80 photographes, dont 60 membres.

www.magnumphotos.com

Reporters sans frontières a 25 ans

Fondée à Montpellier en 1985 par Robert Ménard et trois amis, Reporters sans frontières est dirigée depuis octobre 2008 par Jean-François Julliard et dispose aujourd’hui d’un siège à Paris et d’une implantation dans plus de 140 pays. Elle est devenue un interlocuteur incontournable pour les gouvernements et les institutions internationales et oeuvre depuis 25 ans pour défendre la liberté de la presse.

Reporters sans frontières, association reconnue d’utilité publique depuis 1995 est en mesure d’agir rapidement, n’importe où sur la planète. Elle peut fournir un avocat à un reporter emprisonné, intervenir auprès des autorités compétentes, relayer l’information auprès des médias, soutenir, y compris financièrement, un journaliste en détresse ou sa famille. Et dans les cas les plus urgents, elle peut faire sortir un journaliste de son pays pour le mettre en lieu sûr.

Ses principaux champs d’actions

> La défense des journalistes et collaborateurs des médias emprisonnés ou persécutés pour leur activité professionnelle.

> La lutte pour faire reculer la censure et soutenir les réformes législatives visant à donner plus de liberté aux médias dans le cadre de l’article 19 de la Déclaration universelle des droits de l’homme.

> L’aide à des journalistes ou médias en difficulté [prise en charge des frais d’avocats, frais médicaux, achat de matériel, assistance aux réfugiés, etc.], ainsi qu’aux familles de reporters emprisonnés en accordant chaque année une centaine de bourses d’assistance.

> Le renforcement de la sécurité des journalistes, notamment dans les zones de conflit.

> La mise en place de projets de développement visant à soutenir la presse locale et réaliser des campagnes d’information en France et à l’étranger.

La vente des albums photos, une ressource essentielle pour l’association. Les bénéfices qui découlent de cette vente représente en effet 50 % des ressources de RSF.

Grâce à Magnum Photos, aux photographes, à ses partenaires, Presstalis, le SNDP, l’UNDP, les Maisons de la Presse, Mag Presse, Relay, Interforum, la Fnac, A2Presse et le site internet Solidaripresse ainsi que toutes les enseignes qui diffusent gracieusement l’album, les bénéfices de ces ventes sont intégralement reversés à l’association. Cet album a également reçu le soutien de la Fondation EDF Diversiterre.

Reporters sans frontières
47, rue Vivienne
75002 Paris

http://fr.rsf.org/
.