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blackkudos · 8 years

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Gordon Parks

Gordon Parks (November 30, 1912 – March 7, 2006) was a noted American photographer, musician, writer and film director, who became prominent in U.S. documentary photojournalism in the 1940s through 1970s—particularly in issues of civil rights, poverty and African-Americans—and in glamour photography. As the first famous pioneer among black filmmakers, he was the first African-American to produce and direct major motion pictures—developing films relating the experience of slaves and struggling black Americans, and creating the "blaxploitation" genre. He is best remembered for his iconic photos of poor Americans during the 1940s (taken for a federal government project), for his photographic essays for Life magazine, and as the director of the 1971 film Shaft. Parks also was an author, poet and composer.

Early life

Parks was born in Fort Scott, Kansas, the son of Sarah (née Ross) and Jackson Parks, Nov. 30, 1912. He was the last child born to them. His father was a farmer who grew corn, beets, turnips, potatoes, collard greens, and tomatoes. They also had a few ducks, chickens, and hogs.

He attended a segregated elementary school. The town was too small to afford a separate high school that would facilitate segregation of the secondary school, but blacks were not allowed to play sports or attend school social activities, and they were discouraged from developing any aspirations for higher education. Parks related in a documentary on his life that his teacher told him that his desire to go to college would be a waste of money.

When Parks was eleven years old, three white boys threw him into the Marmaton River, knowing he couldn't swim. He had the presence of mind to duck underwater so they wouldn't see him make it to land.

His mother died when he was fourteen. He spent his last night at the family home sleeping beside his mother's coffin, seeking not only solace, but a way to face his own fear of death. Soon after, he was sent to live with relatives. That situation ended with Parks being turned out onto the street to fend for himself at age 15. Struggling to survive, he worked in brothels, and as a singer, piano player, bus boy, traveling waiter, and semi-pro basketball player.

In 1929, he briefly worked in a gentlemen's club, the Minnesota Club. There he not only observed the trappings of success, but was able to read many books from the club library. When the Wall Street Crash of 1929 brought an end to the club, he jumped a train to Chicago, where he managed to land a job in a flophouse.

Career

Photography

Beginnings

While working as a waiter in a railroad dining car, he began seeing the portfolios of photographers in picture magazines, and decided to become a photographer.

At the age of 25, Parks was struck by photographs of migrant workers in a magazine and bought his first camera, a Voigtländer Brillant, for $7.50 at a Seattle, Washington, pawnshop. The photography clerks who developed Parks' first roll of film, applauded his work and prompted him to seek a fashion assignment at a women's clothing store in St. Paul, Minnesota, that was owned by Frank Murphy. Those photographs caught the eye of Marva Louis, wife of heavyweight boxing champion Joe Louis. She encouraged Parks to move to Chicago in 1940, where he began a portrait business and specialized in photographs of society women. Parks's photographic work in Chicago, especially in capturing the myriad experiences of African Americans across the city, led him to receive the Julius Rosenwald Fellowship, which, in turn, contributed to being asked to join the Farm Security Administration under the auspice of Roy Striker

Government photography

Over the next few years, Parks moved from job to job, developing a freelance portrait and fashion photographer sideline. He began to chronicle the city's South Side black ghetto and, in 1941, an exhibition of those photographs won Parks a photography fellowship with the Farm Security Administration (FSA).

Working at the FSA as a trainee under Roy Stryker, Parks created one of his best-known photographs, American Gothic, Washington, D.C., named after the iconic Grant Wood painting, American Gothic—a legendary painting of a traditional, stoic, white American farm couple—which bore a striking, but ironic, resemblance to Parks' photograph of a black menial laborer. Parks "haunting" photograph shows a black woman, Ella Watson, who worked on the cleaning crew of the FSA building, standing stiffly in front of an American flag hanging on the wall, a broom in one hand and a mop in the background. Parks had been inspired to create the image after encountering racism repeatedly in restaurants and shops in the segregated capital city.

Upon viewing the photograph, Stryker said that it was an indictment of America, and that it could get all of his photographers fired. He urged Parks to keep working with Watson, however, which led to a series of photographs of her daily life. Parks said later that his first image was overdone and not subtle; other commentators have argued that it drew strength from its polemical nature and its duality of victim and survivor, and so has affected far more people than his subsequent pictures of Mrs. Watson.

(Parks overall body of work for the federal government—using his camera "as a weapon"—would draw far more attention from contemporaries and historians than that of all other black photographers in federal service at the time. Today, most historians reviewing federally commissioned black photographers of that era focus almost exclusively on Parks).

After the FSA disbanded, Parks remained in Washington, D.C. as a correspondent with the Office of War Information, where he photographed the all-black 332d Fighter Group. He was unable to follow the group in the overseas war theatre, so he resigned from the O.W.I. He would later follow Stryker to the Standard Oil Photography Project in New Jersey, which assigned photographers to take pictures of small towns and industrial centers. The most striking work by Parks during that period included, Dinner Time at Mr. Hercules Brown's Home, Somerville, Maine (1944); Grease Plant Worker, Pittsburgh, Pennsylvania (1946); Car Loaded with Furniture on Highway (1945); and Ferry Commuters, Staten Island, N.Y. (1946).

Commercial and civic photography

Parks renewed his search for photography jobs in the fashion world. Following his resignation from the Office of War Information, Parks moved to Harlem and became a freelance fashion photographer for Vogue under the editorship of Alexander Liberman. Despite racist attitudes of the day, Vogue editor, Liberman, hired him to shoot a collection of evening gowns. Parks photographed fashion for Vogue for the next few years and he developed the distinctive style of photographing his models in motion rather than poised. During this time, he published his first two books, Flash Photography (1947) and Camera Portraits: Techniques and Principles of Documentary Portraiture (1948).

A 1948 photographic essay on a young Harlem gang leader won Parks a staff job as a photographer and writer with America's leading photo-magazine, Life. His involvement with Life would last until 1972. For over 20 years, Parks produced photographs on subjects including fashion, sports, Broadway, poverty, and racial segregation, as well as portraits of Malcolm X, Stokely Carmichael, Muhammad Ali, and Barbra Streisand. He became "one of the most provocative and celebrated photojournalists in the United States."

His photographs for Life magazine, namely his 1956 photo essay, titled "The Restraints: Open and Hidden," illuminated the effects of racial segregation while simultaneously following the everyday lives and activities of three families in and near Mobile, Alabama: the Thronton’s, Causey’s, and Tanner’s. As curators at the High Museum of Art Atlanta note, while Parks’ photo essay served as decisive documentation of the Jim Crow South and all of its effects, he did not simply focus on demonstrations, boycotts, and brutality that were associated with that period instead, however, he "emphasized the prosaic details" of the lives of several families.

An exhibition of photographs from a 1950 project Parks completed for Life was exhibited in 2015 at the Boston Museum of Fine Arts.

Parks returned to his hometown, Fort Scott, Kansas, where segregation persisted, and he documented conditions in the community and the contemporary lives of many of his eleven classmates from the segregated middle school they attended. The project included his commentary, but the work was never published by Life.

During his years with Life, Parks also wrote a few books on the subject of photography (particularly documentary photography), and in 1960 was named Photographer of the Year by the American Society of Magazine Photographers.

Film

In the 1950s, Parks worked as a consultant on various Hollywood productions. He later directed a series of documentaries on black ghetto life that were commissioned by National Educational Television. With his film adaptation of his autobiographical novel, The Learning Tree in 1969, Parks became Hollywood's first major black director. It was filmed in his home town of Fort Scott, Kansas. Parks also wrote the screenplay and composed the musical score for the film, with assistance from his friend, the composer Henry Brant.

Shaft, a 1971 detective film directed by Parks and starring Richard Roundtree as John Shaft, became a major hit that spawned a series of films that would be labeled as, blaxploitation. The blaxploitation genre was one in which negative stereotypes of black males being involved with drugs, violence and women, were exploited for commercially successful films featuring black actors. Parks' feel for settings was confirmed by Shaft, with its portrayal of the super-cool leather-clad, black private detective hired to find the kidnapped daughter of a Harlem racketeer.

Parks also directed the 1972 sequel, Shaft's Big Score, in which the protagonist finds himself caught in the middle of rival gangs of racketeers. Parks's other directorial credits include The Super Cops (1974) and Leadbelly (1976), a biopic of the blues musician Huddie Ledbetter.

In the 1980s, he made several films for television and composed the music and a libretto for Martin, a ballet tribute to Martin Luther King, Jr., which premiered in Washington, D.C. during 1989. It was screened on national television on King's birthday in 1990.

In 2000, as an homage, he had a cameo appearance in the Shaft sequel that starred Samuel L. Jackson in the title role as the namesake and nephew of the original John Shaft. In the cameo scene, Parks was sitting playing chess when Jackson greeted him as, "Mr. P.".

Musician and composer

His first job was as a piano player in a brothel when he was a teenager. Parks also performed as a jazz pianist. His song "No Love", composed in another brothel, was performed during a national radio broadcast by Larry Funk and his orchestra in the early 1930s.

Parks composed Concerto for Piano and Orchestra (1953) at the encouragement of black American conductor, Dean Dixon, and his wife Vivian, a pianist, and with the help of the composer Henry Brant. He completed Tree Symphony in 1967. In 1989, he composed and directed Martin, a ballet dedicated to Martin Luther King, Jr., the civil rights leader who had been assassinated.

Writing

Starting in the late-1940s, Parks began writing—a second career that would produce 15 books and lead to his role as a prominent black filmmaker—starting with books on the art and craft of photography. Beginning in the 1960s, Parks branched out into literature, writing The Learning Tree (1963). He authored several books of poetry, which he illustrated with his own photographs, and he wrote three volumes of memoirs.

In 1981, Parks turned to fiction with Shannon, a novel about Irish immigrants fighting their way up the social ladder in turbulent early 20th-century New York. Parks' writing accomplishments include novels, poetry, autobiography, and non-fiction that includes photographic instructional manuals and film-making books. During this period, Parks also wrote the poem "The Funeral".

Painting

A gallery exhibition of his photography-related, abstract oil paintings was held in 1981.

Essence magazine

Parks was a co-founder of Essence magazine and served as its editorial director during the first three years of its circulation.

Personal life

Parks was married and divorced three times. He married Sally Alvis in Minneapolis during 1933 and they divorced in 1961. He married Elizabeth Campbell in 1962 and they divorced in 1973. Parks first met Chinese-American editor Genevieve Young (stepdaughter of Chinese diplomat Wellington Koo) in 1962 when he began writing The Learning Tree. At that time, his publisher assigned her to be his editor. They became romantically involved at a time when they both were divorcing previous spouses, and married in 1973. They divorced in 1979. Candace Bushnell claims to have dated Parks in 1976, when she was 18 and he was 58. For many years, Parks was romantically involved with Gloria Vanderbilt, the railroad heiress and designer. Their relationship evolved into a deep friendship that endured throughout his lifetime.

Parks fathered four children: Gordon, Jr., David, Leslie, and Toni (Parks-Parsons). His oldest son Gordon Parks, Jr., whose talents resembled his father's, was killed in a plane crash in 1979 in Kenya, where he had gone to direct a film. Parks has five grandchildren: Alain, Gordon III, Sarah, Campbell, and Satchel. Malcolm X honored Parks when he asked him to be the godfather of his daughter, Qubilah Shabazz.

He died of cancer at the age of 93 while living in Manhattan, New York City, and is buried in his hometown of Fort Scott, Kansas.

Legacy preservation and archives

Several parties are recipient or heirs to different parts of Parks' archival record.

The Gordon Parks Foundation

The Gordon Parks Foundation in Pleasantville, New York (formerly in Chappaqua, New York), reports that it "permanently preserves the work of Gordon Parks, makes it available to the public through exhibitions, books, and electronic media," The organization also says it "supports artistic and educational activities that advance what Gordon described as 'the common search for a better life and a better world.'" That support includes scholarships for "artistic" students, and assistance to researchers. Their headquarters includes an exhibition space with rotating photography exhibits, open free to the public, with guided group tours available by arrangement. The foundation also admits "qualified researchers" to their archive, by appointment. The foundation collaborates with other organizations and institutions, nationally and internationally, to advance its aims.

The Gordon Parks Museum/Center

The Gordon Parks Museum/Center in Fort Scott reports that it holds dozens of Parks' photos, both given to the Museum by Parks, and various belongings bequeathed to the Museum by him upon his death. The collection includes "awards and medals, personal photos, paintings and drawings of Gordon, plaques, certificates, diplomas and honorary doctorates, selected books and articles, clothing, record player, tennis racquet, magazine articles, his collection of Life magazines and much more." The museum has also separately received some of Parks' cameras, writing desk and photos of him.

Library of Congress, Washington, D.C.

The Library of Congress (LOC) reports that, in 1995, it "acquired Parks' personal collection, including papers, music, photographs, films, recordings, drawings and other products of his... career."

The LOC was already home to a federal archive that included Parks' first major photojournalism projects—photographs he produced for the Farm Security Administration (1942-1943), and for the Office of War Information (1943-1945).

In April 2000, the LOC awarded Parks its accolade "Living Legend", one of only 26 writers and artists so honored by the LOC. The LOC also holds Parks's published and unpublished scores, and several of his films and television productions.

National Film Registry

Parks' autobiographical motion picture, The Learning Tree, and his African-American, anti-hero action-drama Shaft, have both been selected to be permanently preserved as part of the National Film Registry of the Library of Congress. The Learning Tree was one of the original group of 25 films first selected by the LOC for the National Film Registry.

National Archives, Washington, D.C.

The National Archives also hold the film, My Father, Gordon Parks (1969: archive 306.08063A) -- a film about Parks and his production of his autobiographical motion picture, The Learning Tree,—is preserved in the National Archives of the United States—along with a print (from the original) of Solomon Nortup's Odyssey, a film made by Parks for a Public Broadcasting System telecast about the ordeal of slave. The Archives also hold various photos from Parks' years in government service.

Smithsonian Institution, Washington, D.C.

The Smithsonian Institution has an extensive list of holdings related to Gordon Parks, particularly photos.

Wichita State University

In 1991, Wichita State University (WSU), in Wichita, the largest city in Parks' home state of Kansas, awarded Parks its highest honor for achievement: the President's Medal. However, in the mid-1990s, after Parks entrusted WSU with a collection of 150 of his famous photos, WSU—for various reasons (including confusion as to whether they were a gift or loan, and whether the University could adequately protect and preserve them) -- returned them, stunning and deeply upsetting Parks. A further snub came from Wichita's city officials, who also declined the opportunity to acquire many of Parks' papers and photos.

By 2000, however, WSU and Parks had healed their division. The university resumed honoring Parks and accumulating his work. In 2008, the Gordon Parks Foundation selected WSU as repository for 140 boxes of Parks’ photos, manuscripts, letters and other papers. In 2014, another 125 of Park's photos were acquired from the Foundation by WSU, with help from Wichita philanthropists Paula and Barry Downing, for display at the university's Ulrich Museum of Art.

Kansas State University

The Gordon Parks Collection, in the Arts, Culture, and Humanities section of the Special Collections of Kansas State University primarily documents the creation of his film The Learning Tree.

Exhibitions

1997: Half Past Autumn: The Art of Gordon Parks, Corcoran Gallery of Art, Washington, D.C.. A career retrospective.

2015: Gordon Parks: Back to Fort Scott, Boston Museum of Fine Arts.

2015: Gordon Parks: Segregation Story, [High Museum of Art Atlanta].

Awards

Parks received more than 20 honorary doctorates in his lifetime.

1941: Awarded a fellowship for photography from the Rosenwald Fund. The fellowship allowed him to work with the Farm Security Administration.

1961: Named "Magazine Photographer of the Year" (1960) by the American Society of Magazine Photographers.

1972: The NAACP awarded Parks the Spingarn Medal.

1984: Honorary Doctor of Humanities degree from Thiel College, a private, liberal arts college in Greenville, Pennsylvania

1989: The United States Library of Congress selects The Learning Tree as one of the first 25 films chosen for permanent preservation as part of the National Film Registry, deeming it to be "culturally, historically, or aesthetically significant" due to its being the first major studio feature film directed by an African American.

1990: Missouri Honor Medal for Distinguished Service in Journalism, Missouri School of Journalism, University of Missouri, Columbia, MO

1999: Gordon Parks Elementary School, a nonprofit, K-5 grade public charter school in Kansas City, Missouri, was established to educate the urban-core inhabitants.

2000: The Congress of Racial Equality Lifetime Achievement Award.

2000: Library of Congress selects Parks' film Shaft for National Film Registry preservation, as well—deeming it to be "culturally, historically, or aesthetically significant",

2000 (April): Library of Congress awards Parks its accolade "Living Legend"—honoring "artists, writers, activists, filmmakers, physicians, entertainers, sports figures and public servants who have made significant contributions to America's diverse cultural, scientific and social heritage"—one 26 writers and artists so honored by the LOC.

2001: Kitty Carlisle Hart Award, Arts & Business Council, New York

2003: Royal Photographic Society's Special 150th Anniversary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography.

2002: Jackie Robinson Foundation Lifetime Achievement Award.

2002: Inducted into the International Photography Hall of Fame and Museum.

2004: The Art Institute of Boston awarded the honorary degree of Doctor of Humane Letters.

2008: An alternative learning center in Saint Paul, Minnesota renamed their school Gordon Parks High School after receiving a new building

Wikipedia

#Gordon Parks

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gregceephoto24 · 5 months

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gregceephoto1 · 4 months

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oldmogg · 4 years

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architectnews · 3 years

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SO-IL builds Las Americas affordable housing development in Mexico

New York firm SO-IL has completed this low rise yet high-density affordable housing development in León, Mexico, with apartments arranged around courtyards.

The project, called Las Americas, is a six-storey concrete block of homes divided into 60 apartments.

The development is in inner-city León

Maximising the plot's buildable footprint, the homes hug two interior courtyards that provide cross ventilation to the development.

At the base of the block, there are two units reserved for community use and future commercial activity, as well as access to parking.

SO-IL built Las Americas in collaboration with a local housing agency, Instituto Municipal de Vivienda de León (IMUVI) and the City of León.

Las Americas has 60 stacked apartments

The development is intended as a prototype to address current housing issues in many parts of Mexico, where individual homes are built far apart from each other, making commuting into city centres difficult for residents.

"Low-rise and high-density is the way to go for housing, allowing people to live close to services and infrastructure," SO-IL co-founder Florian Idenburg told Dezeen.

"The challenge was to make high-density pleasant. We believe this project does that," continued Idenburg.

Las Americas focuses on urban regeneration of inner-city León, making use of an existing urban area rather than building on the city's outskirts where amenities are limited.

"Traditional notions of homeownership currently lock developments into becoming acres of identical free-standing homes in remote areas far from the economic centre," explained SO-IL.

The dwellings overlook two interior courtyards

The firm's objective was to create a large number of homes that appealed to their residents as much as traditional spaced-out dwellings.

SO-IL incorporated a sense of privacy into the development's design, so no two units face one another. With courtyard and neighbourhood views, each apartment is given a sense of private homeownership.

Due to the project's limited budget, Las Americas has shared utility cores and is built from prefabricated components.

Concrete forms the facade of Las Americas

Reflecting on the project, Idenburg acknowledged what SO-IL has learnt from completing the housing development.

"The most important lesson for us was to have faith in the process, without being set on an outcome. As architects we make plans, but we should not be afraid to adjust."

Idenburg also considered how the concrete bricks SO-IL developed for Las Americas shaped ways that the firm thinks about material and labour practices.

"We were able to include many more people in the construction process. Every block can be carried by a single person, so in some ways, you can see the human hand in the wall."

SO-IL is currently constructing another building project in Brooklyn, New York, which takes cues from Las Americas' exterior circulation and the relationship between inside and outside spaces.

C0-founded in 2008 by Florian Idenburg and Jing Liu, SO-IL has completed many projects focusing on improving urban environments, such as an interactive installation at an Atlanta art museum made from net hammocks and bird feeders, and a flower-shaped prefabricated house for Los Angeles.

Photography is by Iwan Baan.

The post SO-IL builds Las Americas affordable housing development in Mexico appeared first on Dezeen.

#Architecture – Dezeen

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oliveratlanta · 5 years

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Asking $1.9M, Brookhaven modern hires Christmas-light installers to boost appeal

1546 Windsor Parkway NE is said to have a Los Angeles feel—now made jollier. | SET Real Estate Group; Compass; photography by Joshua Bartolotti

The ho-ho-home spans an immense 5,500 square feet near Town Brookhaven

As an indication of where prices in this sovereign ITP city have gone, this new-build modern is one of a half-dozen Brookhaven listings asking north of $1.8 million right now—but the only home that isn’t decidedly traditional in style.

And it’s probably the only one to add Christmas lights as a sales tactic.

According to Mike Toltzis of SET Real Estate Group, a team of local professionals was recently hired to install Christmas lights along the home’s substantial exterior, aiming for a festive touch.

Clocking in at 5,500 square feet, which allows for six bedrooms and six full bathrooms, the illuminated property listed in recent days for $1,899,000.

With a geometric array of commercial-grade windows, a three-car garage, and a generous lot, the house stands just north of the Town Brookhaven community off Peachtree Road, in the Oglethorpe Estates subdivision.

White oak flooring, custom commercial windows, and several instances of shiplap begin off the main entry.

According to Toltzis, it’s the only new-construction modern priced between $1.6 and $2.5 million across Brookhaven and Buckhead right now.

While this example of the genre might not be every million-dollar buyer’s cup of tea, it’s described as a “modern masterpiece” with a flat commercial roof that lends a Los Angeles-type feel overall.

Moving inside, the 12-foot ceilings will please fans of airy layouts, while a huge custom fireplace surround made of walnut lends a sleek, unique touch.

Perks continue on the main level with Thermador appliances and a covered porch large enough for doing just about anything. An unexpected highlight is the basement, which is not only finished but outfitted with a bar, bedroom suite, and access to a covered veranda.

To the extent that it matters, the WalkScore from this location, marketed as being the heart of Brookhaven, is a car-dependent 23. That’s one drawback of homes in districts with so much land, with privacy being the upside.

Back in 2017, the home’s split-level predecessor on the half-acre lot sold for $460,000.

The dining room and a secondary food-prep space.

Where the main living room meets the kitchen, with access to a truly large, covered back deck.

More patio access off the living room, with its contemporary walnut built-ins.

One of six full bathrooms.

Master bedroom. Opposite the bed is the coffee bar.

The master bathroom’s oversized dual-entry shower, with rainfall heads and a standalone tub.

Down to the finished basement, with a bar.

The back porch.

A look at window arrangements, garage entries, and festive lights.

From the sloped backyard, where the listing notes there’s room for a pool.

source https://atlanta.curbed.com/2019/12/16/21024633/brookhaven-atlanta-modern-home-for-sale-christmas-light

#OliverAtlanta

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gystink · 5 years

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Fellowship: Wyoming Arts Council Visual Arts Fellowships has money for WY-based artists (Wyoming)

Wyoming Arts Council Visual Arts Fellowships 2301 Central Ave. Barrett Building, 2nd Floor Cheyenne, WY 82002 APPLY NOW Contact Email: [email protected] Call Type: Fellowships Eligibility: Local State: Wyoming Entry Deadline: 6/12/19 Days remaining to deadline: 22

REQUIREMENTS: Media Images - Minimum: 1, Maximum: 10 Video - Minimum: 0, Maximum: 4 Total Media - Minimum: 1, Maximum: 10

WHAT IS A VISUAL ARTS FELLOWSHIP? Visual Arts Fellowships are awards of merit, based on the artist’s portfolio, honoring the work of Wyoming visual artists whose work reflects serious and exceptional aesthetic investigation. Artists working in any media, including film and video, may apply. Applications are juried by noted artists, curators, and others in the visual arts from outside the state. Up to three fellowships may be given each year, and jurors may also select honorable mentions. Recipients of the Visual Arts fellowships exhibit their work in the Wyoming Arts Council Biennial Exhibit, held every two years at a major visual arts institution or museum in the state. The exhibition is curated by one of the jurors, who serves on the panel for two years. SUBMISSION GUIDELINES

Applications must be submitted through CaFE (callforentry.org). Mailed or emailed submissions will not be accepted.

Artists working in any visual media are invited to apply, including: experimental (conceptual/new media), graphic (printmaking/book arts), painting, sculpture, installation, photography (includes experimental, color, black & white, photocopy and computer), clay, fiber, glass, leather, metal, paper, plastic, wood, mixed media, film or video.

Artists may submit up to ten work samples, of which up to two may be detail images, if appropriate.

Film/video applicants may submit up to 4 samples, and have the option to submit stills. Jurors will only be required to watch up to 10 minutes of a film/video submission.

Work must have been created within the past 5 years.

Applicants are asked to submit an artist’s statement, a resume or CV, and to verify that they meet the eligibility requirements.

Please ensure your name does not appear anywhere on the application or work samples, except where specifically requested, to preserve the anonymous nature of the judging.

WHAT IF YOU WIN AN AWARD?

You’ll receive $3,000 up front

Fellowship recipients agree to participate in the Wyoming Arts Council Biennial Exhibition, and are included in the catalog produced.

You’ll sign a contract that verifies you’re eligible to receive this award.

You’ll need to supply a bio and a head shot for publicity.

You will retain all rights to this work and the work you produce during the grant period.

You must fill out a final report form, due August 31, 2020, which asks questions about how this award helped you and what you accomplished during the year you received it.

JURORS IWAN BAGUS was born in Jakarta, Indonesia. He began his career in front of the camera, working as a model in South East Asia for over 10 years. While modeling, he received a B.A. in Economics in Jakarta. Soon after he moved to Washington, DC to earn his M.S. in Engineering from George Washington University and M.A in Film Production from American University. Iwan’s work has been shown at the National Geographic Society, The Corcoran-Washington Performing Arts Society, The Carnegie Institute-DC, The Center for Fine Art Photography-Colorado, The Museum of America Organization States, Hartsfield–Jackson Atlanta International Airport, H-Gallery Bangkok, Times Square-NYC, among others. His photography exhibitions have been reviewed by the Washington Post, Nation Public Radio affiliate WAMU, Washington City Paper, Voice of America, and others. Iwan has worked in New York, Los Angeles, DC, and Indonesia for exclusive commercial clients and magazine. He has also shot for non-profit organizations in DC and New York. Iwan uses his extensive experience in front of the lens to help direct models, actors, and portrait subjects. He has also served as a juror in photography competitions. Currently, Iwan is the Head of Photography concentration at the University of the District of Columbia, and a Professorial Lecturer at American University. He also gives private photography lessons for the local community. WHITNEY TASSIE As the senior curator and curator of modern and contemporary art, Whitney Tassie (she/her) oversees the curatorial department of the Utah Museum of Fine Arts at the University of Utah in Salt Lake City. She articulates curatorial priorities, integrates a coherent curatorial voice for the Museum’s programs and diverse collections, and works collaboratively to promote a highly functional, interactive, and dynamic museum team. Tassie manages the UMFA’s collection of 20th and 21st century art and organizes exhibitions of modern and contemporary art, including the museum’s salt exhibitions, an ongoing series of solo projects by global emerging artists. At the UMFA, Tassie has realized significant commissions by Tony Feher and Spencer Finch and has acquired work by Nancy Holt, Faith Ringgold, Tacita Dean, Lynette Yiadom-Boakye, Kate Gilmore, Shigeyuki Kihara, Duane Linklater, Malick Sidibe, and Katie Paterson, among others. Recently, Tassie co-curated Brian Bress: Make Your Own Friends, a ten-year survey of Bress’s work that traveled to three venues across the US, accompanied by a fully-illustrated catalogue. Currently, Tassie represents the UMFA in partnerships to steward Utah’s iconic earthworks by Nancy Holt and Robert Smithson, and she is overseeing a 4-year, $750,000 Andrew W. Mellon Foundation grant to increase access to the UMFA’s collection through strategic hires and connections with the University of Utah’s J. Willard Marriott Library. Prior to her 2012 appointment at the UMFA, Tassie served as Director of Monique Meloche Gallery in Chicago and Managing Director of Gallery Weekend Chicago. From 2002 to 2005 she worked as an exhibitions and curatorial assistant at the Herbert F. Johnson Museum of Art at Cornell University in Ithaca, New York. Tassie holds an MA in Modern Art History, Theory and Criticism from the School of the Art Institute of Chicago and a BA in Art History and Archaeology from Cornell University. Tassie, a mom to two little kids and one fur baby, believes that art is integral to creating a just world and that museums are political places that should welcome all communities.

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thekevinwright · 6 years

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TFW 2019 is truly your year! 💭 Seriously, the past 3 years, I’ve been building the foundation of my acting career, and with the headshots from 📸 @jeremydavidcreative, I can finally start building the house. I’m starting to workout with @thefaketyrhee next week (which is gonna be crazy!) Aside from fully transitioning to lead roles, there will be much more content this year, both comedic and dramatic 😤 I’m aiming much higher with my goals, and with the help of my mentor @thekymjackson and my friends, I won’t be held down this year. This is the year of The Wright. And everyone, I’m glad that you’re along with me on this journey 💪🏾 Keep an eye on my YouTube channel! Link in bio! New videos dropping every Tuesday at 8:30a pst! 📸 by @jeremydavidcreative ▪️ ▪️ ▪️ ▪️ #Newyears #actor #hollywood #acting #act #entertainment #hardwork #motivation #inspiration #photography #headshot #losangeles #atlanta #newyork #fitness #fit #shred #training #workout #film #tv #theater #commercial #youtube #picoftheday #reel #print #byte (at Los Angeles, California) https://www.instagram.com/p/BsJCXC2hqNQ/?utm_source=ig_tumblr_share&igshid=7ebtfctdr05t

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kevinames · 5 years

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“You may never become rich financially being a photographer. You will live a very rich life.” -Kevin Ames

The photo above is me in 1986 right after completing the photography of one of Atlanta’s landmark buildings. That is the face of a photographer who absolutely loves his job.

Contrary to current reports …

According to a post in SLRlounge.com, being a photographer as the 25th worst job in America. In the first line of the post, the article cites 24/7 Wall St. as saying that they believe the 2018 Jobs Rated Report from CareerCast makes photography in the top 25 worst jobs for income and job security. Out of 220 total jobs on the list, photographer comes in at the 195th best job, making it the 25th worst — meaning there are 24 more jobs considered worse by pay, stress and work environment/projected industry growth. Taxi driver, by the way, is the worst job on the list.

Take a look at the actual report …

CareerCast 2018 Jobs Rating

It’s pretty clear that in this report, choosing to be a photographer has poor expectations for a growing, financially rewarding, low-stress career.

This must mean that all of us making a living with our cameras are appropriately disillusioned by our career choice, aren’t we?

No, not at all!

First, more photographs are being made every year than the year before thanks to the ubiquity of smartphone with good cameras in them. The issue is that the report does not see career growth in being a photographer. There is some truth to that. Here’s what I see:

Being a photographer means seeking work that pays

Polaroid test print: Atlanta Braves pitcher Kevin Millwood on the mound for La-Z-Boy in Fulton County Stadium, May 4, 2000.

Owning a camera and a set of lenses and a flash does not make someone a photographer any more than owning a scalpel makes them a surgeon. Photographers that know how photography works, that can light a scene, pose a portrait and deliver a digital file that is appropriate for a client’s requirements are not a commodity. There aren’t many who can do these things when compared to smartphone photographers or ones who have bought an everything-you-need-to-be-a-pro-photographer kit at the local warehouse club store.

Photographers must find projects that clients will pay them to photograph. While this can seem daunting at the outset, there is a lot of work to be had. Satisfied clients come back with more work. Photography is exactly like any other business. It is a business and must be treated as such. For more on this browse Bryan Esler’s marketing column that runs every Monday.

There is money — good money — to be made making photographs.

About that “job” thing

Let’s get this right out front. There are very few full-time jobs with the title of “photographer,” particularly for still shooters. There are some. But they are really rare, especially with the demise of printed catalogs.

Working photographers today are employed by themselves. They have their own, independent business. They, hey, WE, work hard. We work hard to find a project that pays us to make photographs. We work hard to produce them. We also work hard at all of the parts of running a small business that lets us be photographers who are making a living making photographs and we LOVE making them. As long as photographers charge appropriately for their work, they will stay in business and prosper.

Then there’s being rich

Rich can be described as having a lot of money. Rich can also, though not as often, be defined in life experiences. Which is most important? That answer is very personal for each of us. Here’s my (abridged) story.

Early days

Like a lot of photographers today, my career started when I was given a Kodak Brownie Starmite 127 camera. It made square photos. My first “job” happened by happy circumstance. It was not intentional. I took my new camera on a field trip with my classmates to the Idaho State Historical Museum in Boise. I made pictures of them looking at artifacts of our state’s past. Returning home, I went with my mom to the drugstore to drop off the film to be developed. I was much too young to drive a car at 12, although that did not stop me from driving a tractor on our family farm. Kids then started work young.

The film came back. I put the little three and a half inch prints on a piece of poster board and my classmates paid 10 cents each for the ones they wanted. Score! A career began.

Living a rich life

I have lots of friends and some acquaintances who work at jobs that they really don’t like let alone love. They make good money. It seems like most of them earn a lot more than I make. No matter. I have come through my life with experiences that money can’t buy unless you are ultra (billionaire) rich.

A jitney driver by the U.S. Embassy in Manilla, Philippines.

World War II ruins on Corregidor Island.

Catholic mass in Notre Dame

Me in my studio in 2005.

Photography has been, with apologies to “Saturday Night Live,” very, very good to me. I have met and photographed amazing people and visited equally amazing places that the public can’t access. Photography has taken me all over the U.S. and to many parts of the world. It has provided an all right income at the same time.

Looking back

In my case, being a photographer also means having access to my entire life’s work. I have negatives, prints and slides going back to my days in university, although it was a state college then. I have slides from the protests in Brussels against NATO receiving Pershing nuclear missiles from the U.S. I have photos of Mass in Notre Dame, a jitney driver in Manilla, commercial pictures I’ve made on pitcher’s mound in two of Atlanta’s three major league baseball fields. These are just some of the images from my life. I could certainly go on and on and be really boring sharing events that I experienced. The take-away is the experiences themselves. Having really good photographs that I own the rights to is a bonus. Here are some of my personal “street” portraits.

A pause in his workday

Woman resting

With the Mona Lisa

Coffee in Brussels

So, a final question: What’s important?

Is money important to you? Go for it. For me money is nice but it’s never been a goal. I have always wanted to live a life rich in experiences. And I have done exactly that. And I still am thanks, in no small part to having one of the “so-called” worst jobs ever.

Photographers love photography. Photographers love making photographs. The worst day making photographs is better than the best day doing anything else. Yeah, I know. There’s a fishing or golf story somewhere in that last line. Take this to heart. There are more people happily making a living making pictures than there are doing the same thing fishing or playing golf.

Photographer — one of the worst jobs ever? Never! "You may never become rich financially being a photographer. You will live a very rich life." -Kevin Ames…

#business #career #opinion #worst job

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