#political and documentary photography posters

[sheltiechicago]

Political and documentary photography posters from the 1970s

In the late 70s, the cash-strapped Half Moon Gallery in London developed an innovative approach to getting its shows seen. Showcasing socially engaged photographers such as Daniel Meadows, Janine Wiedel and Philip Jones Griffiths, it laminated their prints and shipped them by rail as touring exhibitions.

Japanese Freestyle, 1977. This exhibition documented the lives of a drumming group that formed part of the traditional community on Sado Island, one of the largest islands in Japan.

Photograph: Glyn Williams

[bikinikillhanna]

Kathleen Hanna Roleplay Account Introduction

Scenario: Kathleen heard all her other music friends talk about blogging on Tumblr and she wanted to try it out for herself💕

Please be 15 or Older to Look at this account, Riot GRRL is a very Mature and adult movement but for the kiddy winks who are interested go watch Moxie on Netflix.

If you don't like the account then block it, simple as that but don't go harassing me or any other rock roleplay accounts because of your hatred.

This Account is all Parody, I do not know Kathleen Hanna own the rights to any bikini kill/Le Tigre/Julie Ruin songs and am only a harmless fan.

Bands

BIKINI KILL

LE TIGRE

Bikini Kill is an American punk rock band formed in Olympia, Washington, in October 1990. The group originally consisted of singer and songwriter Kathleen Hanna, guitarist Billy Karren, bassist Kathi Wilcox, and drummer Tobi Vail. The band pioneered the riot grrrl movement, with feminist lyrics and fiery performances. Their music is characteristically abrasive and hardcore-influenced. After two full-length albums, several EPs and two compilations, they disbanded in 1997. The band reunited for tours in 2019 and 2022, with Erica Dawn Lyle on guitar in place of Karren.

Le Tigre (/lə ˈtiːɡr��/, French pronunciation: [lə tiɡʁ]; French for "The Tiger") is an American electronic rock and riot grrrl band formed by Kathleen Hanna (of Bikini Kill), Johanna Fateman and Sadie Benning in 1998 in New York City. Benning left in 2000 and was replaced by JD Samson. They mixed punk's directness and politics with playful samples, eclectic pop, and lo-fi electronics. Like with many bands in and from the riot grrrl movement, many of the lyrics addressed feminist themes and ideas. The group also added multimedia and performance art elements to their live shows, which often featured support from like-minded acts such as the Need.

Bio on Kathleen

Kathleen Hanna (born November 12, 1968) is an American singer, musician and pioneer of the feminist punk riot grrrl movement, and punk zine writer. In the early-to-mid-1990s, she was the lead singer of feminist punk band Bikini Kill,and then fronted the electronic rock band Le Tigre in the late 1990s and early 2000s. Since 2010, she has recorded as The Julie Ruin.

In 2009, Hanna made her zines, art pieces, photography, video, music, journals, and other material which focus on the early formation of the Riot Grrrl movement available at the Fales Library at New York University. A documentary film about Hanna was released in 2013 by director Sini Anderson, titled The Punk Singer, detailing Hanna's life and career, as well as revealing her years-long battle with Lyme disease. Hanna is married to Adam Horovitz of the Beastie Boys.

1968–1988: Early life and feminism

Hanna was born November 12, 1968, in Portland, Oregon.

At age three, her family moved to Calverton, Maryland; as Hanna's father changed occupations, the family moved several more times.Hanna first became interested in feminism around the age of nine, after her mother took her to a rally in Washington, D.C. where feminist icon Gloria Steinem spoke.

In a 2000 interview with BUST magazine, Hanna recalled: "My mom was a housewife and wasn't somebody that people would think of as a feminist, and when Ms. magazine came out we were incredibly inspired by it.

I used to cut pictures out of it and make posters that said 'Girls can do anything', and stuff like that, and my mom was inspired to work at a basement of a church doing anti-domestic violence work. Then she took me to the Solidarity Day thing, and it was the first time I had ever been in a big crowd of women yelling, and it really made me want to do it forever."

Hanna's interest grew when her mother checked out a copy of Betty Friedan's The Feminine Mystique from the library.

Their involvement in the women's rights movement was done quietly during Hanna's childhood, due to her father's disapproval.

Upon her parents' divorce, Hanna returned to Portland and attended Lincoln High School and Grant High School.

After high school, she relocated from Portland to Olympia, Washington, to attend The Evergreen State College in the late 1980s.

During this time she worked as a stripper to pay her tuition.

"My parents didn't go to college. I felt lucky [to attend]." While at Evergreen, with fellow student and photographer Aaron Baush-Greene, she set up a photo exhibit featuring the pair's photography, which dealt with sexism, violence against women, and AIDS – issues that were heightened for Hanna when she volunteered for SafePlace, a domestic violence organization.

However, the school administrators took the photos down before they had the chance to be viewed, an act of censorship that prompted what Hanna refers to as her "first foray into activism": the creation of Reko Muse, an independent feminist art gallery, with friends Heidi Arbogast and Tammy Rae Carland.

Hanna began doing spoken word performances that addressed sexism and violence against women. Eventually, she abandoned spoken word in favor of music after a conversation with one of her favorite writers, countercultural icon Kathy Acker. Hanna recalled,

Acker asked me why writing was important to me, and I said, 'Because I felt like I'd never been listened to and I had a lot to say,' and she said, 'Then why are you doing spoken word—no one goes to spoken word shows! You should get in a band.'

Hanna then formed a band with Arbogast and Carland, called Amy Carter, which put on shows before the art exhibitions.

1989–1999: Bikini Kill

Later, Hanna started another band called Viva Knievel that toured the United States for two months before disbanding.

Upon returning to Olympia in 1990, Hanna began collaborating with Evergreen student, drummer and punk zinester Tobi Vail after seeing a performance of the Go Team (a band made up of Vail, Billy Karren, and Calvin Johnson) and recognizing Vail as the mastermind behind the fanzine Jigsaw that Hanna greatly admired and loved.

In October 1990, Hanna and Vail joined with Karren and bassist Kathi Wilcox to form Bikini Kill, which soon became part of the seminal early-1990s Olympia, Washington music scene. One goal of the band was to inspire more women to join the male-dominated punk scene.

While Bikini Kill were in Washington, D.C. during summer 1991, Kathleen recorded with two side projects, featured on the compilation cassette A Wonderful Treat: Suture (with Sharon Cheslow and Dug E. Bird), and Wondertwins (with Tim Green of Nation of Ulysses). Bikini Kill, Suture, and Wondertwins all performed at the International Pop Underground Convention in August 1991.

Bikini Kill's first release for the Kill Rock Stars label was a self-titled EP produced by Ian MacKaye of Fugazi.

Bikini Kill then toured the UK, recording a split LP with UK band Huggy Bear. This tour was filmed and the band was interviewed by Lucy Thane for her documentary, It Changed My Life: Bikini Kill in the UK. Upon returning to the U.S.

the band began working with Joan Jett, who produced their single "New Radio/Rebel Girl". After the single's release, Hanna began co-writing songs with Jett for her new album.

At the same time, Hanna recorded her spoken-word "Rockstar", released on a 7-inch single in the Kill Rock Stars "Wordcore" series; and "I Wish I Was Him", which appears on the KRS compilation Rock Stars Kill. The song, written by Ben Lee about alternative rock heartthrob Evan Dando,was originally recorded by Lee's band Noise Addict.

The first two Bikini Kill EPs were released on CD as The C.D. Version of the First Two Records in 1993.

The band released two more full-length albums, Pussy Whipped in 1994 and Reject All American in 1996, and in 1998, Kill Rock Stars released Bikini Kill: The Singles, a collection of the group's seven-inch and compilation tracks. Bikini Kill amicably disbanded in mid-1998.

2000–present: Le Tigre and the Julie Ruin

After Bikini Kill's breakup, Hanna began working on a solo project called Julie Ruin. The project was created entirely in Hanna's bedroom using a $40 drum machine. One self-titled album was released under the Julie Ruin pseudonym, and was partially inspired by the work of feminist theorist Julia Kristeva.

Hanna said of the project:

Girls' bedrooms sometimes can be this space of real creativity. The problem is that these bedrooms are all cut off from each other. I wanted the Julie Ruin record to sound like a girl from her bedroom made this record but then didn't just throw it away or it wasn't just in her diary but she took it out and shared it with people.

While in Portland, Oregon, Hanna began working with friend and then-zine editor Johanna Fateman on a live show for Julie Ruin. The collaboration resulted in the two briefly forming a band called the Troublemakers, named after a G. B. Jones film, which ended when Fateman relocated to New York City to attend art school.

Hanna soon moved to New York City, and with the addition of filmmaker Sadie Benning, they started another band called Le Tigre based upon a more electronic style of music, similar to the sampler-driven sound Hanna had begun to explore with Julie Ruin. (She later revealed to Bust magazine that she was "totally broke" at this time and ate oatmeal daily.)

Hanna refers to it as part of a "Punk Feminist Electronic genre".

The band recorded for the Mr. Lady Records label, its first recording being an eponymous album which included the singles "Hot Topic" and "Deceptacon." Benning then left the band and was replaced by JD Samson for their second album, Feminist Sweepstakes.

Mr. Lady Records folded, and the group switched to Universal Records for the 2004 release of This Island. Hanna left the band in 2005 due to illness; she was later diagnosed with late-stage Lyme disease.

According to the Le Tigre website, during her time off from the band, Hanna volunteered as a band coach for the Willie Mae Rock and Roll Camp for Girls. She also taught an art class at NYU's grad school in the Fall 2007 semester and attended interior design classes.

In 2010, Hanna DJed at the Museum of Modern Art, later joining the Raincoats on stage to cover the Slits' Vindictive.

Also in 2010, Hanna announced she was rebuilding her 1997 act Julie Ruin, turning it into a full band called the Julie Ruin with Kenny Mellman and Kathi Wilcox, and that they would be creating a new record.

The band played their first show at Knitting Factory in New York City which included songs from Bikini Kill and Le Tigre, and one new composition.

 From 2010 to 2013, director Sini Anderson worked on a documentary on Kathleen Hanna titled The Punk Singer, documenting her works from Bikini Kill to the Julie Ruin.

It premiered at SXSW in 2013.

 In June 2013, Julie Ruin released its first single, "Oh Come On". An album, Run Fast was released in September 2013 with the band going on tour.

The band cancelled the tour planned for May to September 2014 due to Hanna's Lyme disease condition deteriorating.

DISCOGRAPHY

 She has since recovered and begun performing again. The Julie Ruin's second album, Hit Reset, was published in July 2016 by Hardly Art.

Bikini Kill

Revolution Girl Style Now! self-released cassette (1991)

Bikini Kill  EP, Kill Rock Stars (1991)

Yeah Yeah Yeah Yeah split LP with Huggy Bear, Catcall Records (UK), Kill Rock Stars (US) (1993)

Pussy Whipped, Kill Rock Stars (1993)

The C.D. Version of the First Two Records (compilation of the Bikini Kill EP and their half of the Yeah Yeah Yeah Yeah split LP), Kill Rock Stars (1994)

Reject All American, Kill Rock Stars (1996)

The Singles, Kill Rock Stars (1998)

Julie Ruin/The Julie Ruin

Julie Ruin, Kill Rock Stars (1998)

Run Fast, TJR Records (2013)

Hit Reset, Hardly Art (2016)

Le Tigre

Le Tigre, Mr. Lady (1999)

Feminist Sweepstakes, Mr. Lady (2001)

This Island, Universal (2004)

(Other RP Accounts)

@gardengrampa

@theeverglades

@gwenstefoubt

[greensparty]

Talking with Ryan White

One of the most impressive documentarians who emerged out of the 2010s is Ryan White. He co-directed the PBS doc Pelada in 2010. One of my favorite docs of the 2013 Independent Film Festival Boston was his doc Good Ol’ Freda about Freda Kelly, the longtime secretary for The Beatles. I named it my #3 Documentary of 2013 and #22 of the 2010s. He followed that up with The Case Against 8 about California’s ban on same-sex marriage, the Serena Williams doc Serena, the Netflix mini-series The Keepers, the Dr. Ruth doc Ask Dr. Ruth, the legal doc Assassins, the Apple TV+ mini-series Visible: Out on Television, and the groundbreaking illustrator doc Coded. Talk about a diversity of documentary subjects! White has taken on numerous subjects: music, politics, sports, investigative crime, legal, historical and media figures. His new doc Good Night Oppy is one of his most ambitious docs yet. It follows Opportunity, the Mars exploration rover that was expected to last 90 days and lasted 15 years, showing the NASA team and Oppy’s journey. I highly recommend seeing this on a big screen with a grand sound system. I recently caught up with Mr. White via phone. 

director Ryan White

Me: Congrats on the new doc! I understand you actually got your start on WGBH’s Frontline?

RW: Yeah, my first film job was in Boston. When I was in college, I did two Summers in Boston doing internships. I worked for a filmmaker David Sutherland who was in Newton. That’s where I kind of learned the craft for the first time.

Me: How did this documentary Good Night Oppy come together? Did NASA contact you about this project? Did you contact them?

RW: Well, kinda neither. [laughs] So the project was brought to me by Film 45 and Amblin Entertainment, Steven Spielberg’s company. They had approached NASA about doing a documentary about Opportunity Mission. So NASA is very protective over their archives. But I think having a company of Amblin’s caliber persuaded them to make the documentary and the defining documentary about Opportunity’s mission. They were the ones who got NASA on board. They approached me about directing it and that was in March of 2020 when we began the film.

movie poster

Me: There are a lot of documentaries that don’t lose a lot when you watch them at home or on a device. This is very much a big screen movie. I say this as someone who watched this on my laptop, but it is very much a big screen movie. Can you tell me about your visual approach to this epic subject matter?

RW: My idea from the beginning was that if we are going to make this movie, let’s take the audience to Mars. And is it possible in the world of visual effects now to do that in a completely photoreal and authentic way? I didn’t know that when we began. I didn’t know if that was possible. But we began those conversations because Amblin has worked with visual effects so much on so many of their films and TV series, and they set me up to have a lot of conversations with a lot of visual effects houses. Industrial Light and Magic, who were one of the producers on the film, they were the ones who really favored the opportunity to create a completely authentic Mars. They had done Mars in other projects before but it had never been a photoreal Mars. As opposed to an actor in a desert in Utah, creating the world of Mars around that actor. But they were really excited about the opportunity to create a completely authentic Mars that would be derived from the photography of the robots and the photography of the satellites that orbit around Mars. We had access to hundreds of thousands of photos from NASA, we knew the weather every day, we knew everything the robots were going through. So Industrial Light and Magic, even when they were lighting some of these scenes they were completely aware of the weather and PAL levels in the air. So it really was a documentary way of doing visual effects. 

Me: Like you just mentioned, you worked with Amblin Entertainment and ILM. What was it like for you to work with these companies that have brought so much science to the masses through entertainment?

RW: It was a dream. My favorite film growing up, and still I say my favorite film today, is E.T. That was really an inspiration for this film even though E.T. is fiction, it is a very similar narrative trajectory in the sense that the protagonist is a non-human character and they’re on this journey and at the end of the story you’re going to have to say goodbye to that character. And so, Spielberg is kind of a hero of mine and I’m sure he is for most filmmakers. And [ILM Founder] George Lucas as well. So, you know, it wasn’t like I was on the phone George Lucas and Steven Spielberg everyday making this film [laughs] but getting to work with their companies and they have such incredible people at these companies, was a dream as a filmmaker. And especially as a doc filmmaker, where you don’t normally work in those worlds where you would meet ILM. I’ve done animation on my films in the past, but you don’t need the best visual effects company in the world to be working on my previous films. This one needed to have that high bar.

Me: It’s interesting you mention the influence of E.T. because there is a real heart and emotion to this story in Good Night Oppy about how one can begin to love something that’s not even human and become emotionally attached. Tell me about how you approached that as a documentary director.

RW: Well you know we used the term Anthropomorphize a lot. Actually a cultural anthropologist came into JPL [NASA’s Jet Propulsion Labs] and did a study between the scientist and engineers and the robot. Before I even began the film that was one of the first things I watched, which was her giving a talk and reading her paper about anthropomorphizing these robots. Why these scientists and engineers are very rational practical people who for lack of a better term, fell love with this robot. It was so fascinating to listen to her conclusions about it. Our mantra in the edit room was always “we can’t anthropomorphize the robots any more than the scientists who made them and love them and are willing to”. That was always where we wished that on ourselves. Even in the visual effects we were constantly consulting with NASA to see if the way that the robot was moving, the way her head would move, the way the lenses in her eyes would move were not becoming cartoony and was authentic to the way that she or they operated.

Me: Your previous doc The Case Against 8 played at the Independent Film Festival Boston in 2014, which was the same year that my doc Life on the V: The Story of V66 had its World Premiere there as well. So I feel like we’re peers, we’re both in that Class of 2014 for IFFBoston.

RW: Yeah!

movie poster

Me: And with The Case Against 8 it went on to be recognized by so many awards and organizations and it really made an impact. Was it important to you to use documentary as a medium to bring attention to causes and issues that can bring awareness to people?

RW: That’s a really interesting question and my honest answer is no. That’s not my interest in filmmaking. My genesis in filmmaking is that I was a huge film nerd, but it was all fiction films. I don’t think I knew what documentaries were when I was growing up in the 80s and 90s. And I loved photography, so it was all photography in middle school and high school and that’s what I thought my career was going to be, non-fiction photography. So my passion has always been films, whether they’re documentary or fiction, but character-based. So even when I dabbled in something like The Case Against 8, like you said, and Good Night Oppy definitely has themes to it that are hugely important like climate change or exploration. But my intro into the films I make are characters. As you know as a documentary filmmaker, it takes years to make these films and so you have to fall in love with the story and I have to fall in love with the characters. So that’s always my entry point is the characters. If there are larger themes around them that can impact change that’s great but that’s never my goal in why I take on a film. 

Me: Right, the goal should be the film itself and if there’s things that can be done as a result thereafter great. I very much agree with that.

RW: Yeah, exactly. I love watching that happen afterwards, but that’s never the reason why I’m making a film. 

Me: I am a lifelong Beatle fanatic and your documentary Good Ol’ Freda I actually saw at the IFFBoston in 2013, speaking of IFFBoston.

RW: Oh really? 

Me: Yeah, I saw it there. I included it in my Top Documentaries of 2013 and of the decade. It was one of the few independent films to license Beatle songs on the soundtrack. Tell me about being able to shine a light onto an unknown part of The Beatles’ history.

RW: It’s funny you asking about that, because just last night I was talking with one of the programmers from IFFBoston about it and that project was such a fan film, it almost wasn’t even meant to be a film, more like a family-based project because I had family in Liverpool and Freda Kelly was a great family friend of ours. I didn’t even know she was The Beatles secretary growing up when I would see her at birthdays or weddings. The idea of that was just to sit down with her and document her story so that her grandson would have those once she passed away. It was never even supposed to be a movie, but it’s very ironic and it’s come very full circle, because Good Night Oppy has “Here Comes the Sun” in it. I think that’s like The Beatles’ number one song on Spotify, right? So it's definitely one of their massive massive hits. And I had a very unique experience because of Good Ol’ Freda and what it’s like to try to license Beatles music. Good Ol’ Freda was definitely a huge feat at the time. The Beatles’ were not licensing their music to film or television in 2013 when Good Ol’ Freda came out. We were like the little film that pulled off the impossible then. They have definitely started to license their music more, I hear it more and more. But still I knew how difficult it was. When I knew we were going to be using “Here Comes the Sun”, I know how difficult it would be and our music supervisor was amazing. She said “By the way, Beatles’ music is almost impossible to get permission to. The other artist that’s almost impossible is Abba.” And that was another major scene in our film. I think it’s really a testament to the story of Good Night Oppy that all of these record labels said yes to it. When you hear the logline of “A robot that was supposed to live for 90 days and survived for 15 years” and its a true story, it’s not Wall-E. People want to be a part of that. It warms peoples hearts for whatever reason. We were very grateful, but we were also shocked to be getting these yeses from places that would not normally say yes especially on a documentary budget.

Kelly and White

Me: I am a firm believer that if you are going to make a Beatles documentary, you need to shed some new light on them, otherwise you’re just reiterating what The Beatles Anthology or Compleat Beatles already did. So when I first heard about this, I was like “Oh, the secretary for The Beatles, didn’t know about her!” So when I saw it, by the end of the movie I realized it wasn’t even a Beatles documentary. It was her story and they were in the background with Freda in the foreground.

RW: Yeah, I mean I like The Beatles as much as the average Joe does, but I never wanted to make a Beatles film. I think its now in the Beatles canon of films and books. But that isn’t why I made it, it was all about Freda. Its not that different than Good Night Oppy. Good Ol’ Freda is like a Cinderella story because its about this woman who should never have had the opportunities she did, she was just some small town girl and she just ended up in the craziest most insane circumstances that you could ever imagine and she has a story to tell because of that. Most of my films are similar to that. Where someone - usually a woman because most of my films have been about women - that found themselves in these incredible circumstances and are looking back on it. 

Me: What’s next for you?

RW: Similar to what I was just talking about with women who found themselves in incredible circumstances and challenges, I have a film about Pamela Anderson that will be coming out early next year. I’ve been documenting her life for the past couple of years and it’ll be out in early 2023.

Good Night Oppy is now playing in theaters and will be on Amazon Prime Video on November 23: https://amazonstudiosguilds.com/titles/good-night-oppy/

[artbookdap]

TOMORROW, Oct 2 and TUESDAY, Oct 4, Vancouver International Film Festival presents the 'Soviet Bus Stops' documentary along with a Q&A with photographer Christopher Herwig.⁠ ⁠ Film poster and title sequence by @fuelpublishing⁠ ⁠ “There’s a bus stop I want to photograph.” This may sound like a parody of an esoteric festival film, but Canadian Christopher Herwig’s photography project is entirely in earnest, and likely you will be won over by his passion for this unusual subject within the first five minutes. Soviet architecture of the 1960s and 70s was by and large utilitarian, regimented and mass-produced. Yet the bus stops @herwig_photo discovers on his journeys criss-crossing the vast former Soviet Bloc are something else entirely: whimsical, eccentric, flamboyantly artistic, audacious, colorful. They speak of individualism and locality, concepts anathema to the Communist doctrine. Herwig wants to know how this came to pass and tracks down some of the original unsung designers, but above all he wants to capture these exceptional roadside way stations on film before they disappear.⁠ ⁠ This is a joyous film about the intersection of photography, creativity, politics and history, and you won’t look at a bus stop the same way again.⁠ ⁠ For more information about the film and premier screening at @viffest visit https://viff.org/whats-on/soviet-bus-stops or click linkinbio.⁠ ⁠ @soviet_busstops #sovietbusstops #fueldesign #fuelpublishing https://www.instagram.com/p/CjK7xCtOFV3/?igshid=NGJjMDIxMWI=

[londonedge]

A visual poster feast in Shoreditch obscuring building front

[anthrotographer]

Knock Down the House (2019)

Directed by: Rachel Lears

Amy Vilela

Alexandria Ocasio-Cortez

Cori Bush

Paula Jean Swearingen

The stories of these four women are touching. I got teary eyed not gonna lie. To see people fighting for what is right and risking a lot to do so demands incredible respect. Knock Down The House shows that the fight to upset the political establishment and win is incredibly hard...but it’s doable (at least on the small scale, remains to be seen on a large scale). The political system in the U.S. is anti democratic for so many reasons, one being that grassroots candidates like AOC have so little chance of winning in these races. The built in fundraising lead that incumbent Democrats have makes it nearly impossible to overcome. But that doesn’t mean we shouldn’t try.

Rating: 10/10

[somethingimworkingon]

Zanele Muholi, Tate Modern

Walking into the Zanele Muholi exhibition at Tate Modern is like discovering another country.

In 2017 Muholi’s ongoing self-portrait series, Somnyama Ngonyama/Hail the Dark Lioness, was exhibited in London’s Autograph Gallery. In press reviews and posters on the tube that autumn, the images were unmissable and unmistakeable: stark black and white photographs of an impassive face crowned with Brillo pads or clothes pegs, festooned with vacuum cleaner hoses. At the time, Autograph wrote, the artist: “uses her body as a canvas to confront the politics of race and representation… Gazing defiantly at the camera, Muholi challenges the viewer’s perceptions while firmly asserting her cultural identity on her own terms: black, female, queer, African.”

Fast forward to 2020, and Tate Modern’s major Zanele Muholi exhibition. Visiting hours at the museum flicker in and out of existence as we navigate COVID lockdowns – now you can come! No, wait, sorry, you can’t. Try rebooking for a month’s time.

When I finally squeaked in, in early December, I expected more Dark Lionesses. I had a vague idea that Zanele Muholi was a bit like a South African Cindy Sherman.

I was wrong.

This exhibition shows the breadth of Muholi’s practice, of which the self-portraits are just one strand. The range and energy of the work is astounding. Especially given that in 2012 their studio was burgled and five years of work on hard drives was stolen.

Another mental adjustment: Muholi’s pronouns are they/them/theirs.

Born in Umlazi, South Africa, in 1972, at the height of Apartheid, Zanele’s father died when they were a baby and their mother, Bester, a domestic worker, had to leave her eight children for employment in a white household. Zanele was brought up by extended family. They started working as a hairdresser, then studied photography at Market Photo Workshop in Johannesburg, graduating in 2003, and going on to be awarded their MFA in Documentary Media from Ryerson University in Toronto in 2009.

On returning to South Africa they started to document the lives of the LGBTQI+ community.

Aftermath (2004)

The exhibition opens with a group of deceptively gentle images. In the first, Aftermath (2004), a torso is cropped from waist to knees, hands modestly clasped in front of Jockey shorts, a huge scar running down the person’s right leg almost like a piece of body art. In another, Ordeal (2003), hands wring out a cloth in an enamel basin of water placed on a floor. A third image shows a cropped, seated figure, again waist to thighs, hands folded in their lap, plastic hospital ties around their wrists. These pictures have a softness and beauty which completely belies the fact that their subjects are all survivors of sexual violence and “corrective rape”.

As the caption to the last picture, Hate crime survivor I, Case number (2004) explains, “Corrective rape is a term used to describe a hate crime in which a person is raped because of their perceived sexual orientation or gender identity. The intended consequence of such acts is to enforce heterosexuality and gender conformity.” This horrific practice is by no means unique to South Africa, but the term seems to have originated there – feminist activist Bernedette Muthien used it during an interview with Human Rights Watch in 2001 – and its effects on the community resonate throughout this exhibition.

Ordeal (2003)

They don’t, however, dominate. While the exhibition starts by showing the evils of intolerance of gender nonconformity, Muholi goes on to reclaim, elevate and celebrate that same nonconformity.

With Being (2006 – ongoing) we move on to photographs of naked bodies entwined – again tightly cropped, again soft black and white, but now without outside interference. They are sensual, personal, and owned. A series of portraits of two female lovers, Katlego Mashiloane and Nosipho Lavuta (2007) switches to colour and full figures. The couple sit entwined, laughing: they kiss, and bathe side by side standing in an enamel basin, in a warm, defiant echo of the scene in Ordeal (2003) across the room.

Katlego Mashiloane and Nosipho Lavuta, Ext.2, Lakeside, Johannesburg (2007)

The series Brave Beauties, started in 2014, is “a series of portraits of trans women, gender non-conforming and non-binary people. Many of them are also beauty pageant contestants.” The queer beauty pageant is many things: a celebration – and redefinition – of beauty, a declaration of independence by contestants, a challenge to “heteronormative and white supremacist cultures,” and an attempt, as Muholi puts it, “to change mind-sets in the communities [the contestants] live in, the same communities where they are most likely to be harassed or worse.”

Melissa Mbambo, Durban, South Beach (2017). Melissa Mbambo is a trans woman and beauty queen, Miss Gay South Africa 2017

Roxy Msizi Dlamini, Parktown, Johannesburg (2018)

Akeelah Gwala, Durban (2020)

These portraits are made collaboratively, Muholi and the subjects choosing clothing, location and poses together. Some of them, like the picture of Roxy Msizi Dlamini (2018) have the quality of a classic glamorous studio shot. Others, like Akeeleh Gwala, Durban (2020), posing in a bikini against a scruffy brick wall in what seems to be a deserted brick alleyway, are a reminder of the vulnerability of the subject. Akeelah Gwala’s “Testimony” in the exhibition catalogue says: “I am 24 years old. I am a transgender woman. Growing up was very difficult because your parents think this is a boy… I was raped when I was 16 years old…” The rapist, a well-known pastor, threatened Akeelah’s family, forcing them out of their home. Akeelah refers to Muholi as “Sir Muholi” and says, “I have taken part in several beauty pageants. I perform because as a Brave Beauty, it is important to be visible and make others know about us and respect us as human beings.”

Miss Lesbian I-VII, Amsterdam (2009)

The theme of beauty pageants also features in the series of self-portraits Miss Lesbian I-VII, Amsterdam (2009), where Muholi casts themself as a beauty queen, an early identification with the wider community prefiguring Brave Beauties. The 2009 series brings together several of Muholi’s themes: the beauty pageant and the fashion/fashion magazine world; who gets to perform and who gets to watch; who gets to choose what beauty means? And, as an aside that may sound trivial but isn’t, kitchen utensils as headgear.

As the exhibition unfolds, we discover other projects. Muholi describes themselves as a visual activist, and they have a large network of collaborators, including the collective Inkanyiso (“Light” or “Illuminate” in isiZulu), a non-profit organisation focused on queer visual activism. We see images documenting marches and protests, weddings and funerals, and “After Tears” – gatherings held after burials to celebrate the life of the lost loved one.

Nathi Dlamini at the After Tears of Muntu Masombuka’s funeral, KwaThema, Springs, Johannesburg (2014)

Death is a constant presence in Muholi’s community and work. The largest space in this exhibition is given to Faces and Phases (2006 – ongoing), a collection of portraits – 500, and counting. The images “celebrate, commemorate and archive the lives of Black lesbians, transgender and gender non-conforming individuals.” People appear more than once. Some spots on the walls are empty, marking a portrait yet to be taken or a participant no longer there. One wall is dedicated to those who have passed away.

Not only is this a powerful and moving project, it’s an extraordinarily beautiful set of pictures. As are the last works in the show, the series that started in 2012: Somnyama Ngonyama, Hail the Dark Lioness.

In this work, Muholi has darkened their skin and whitened their eyes, and composed the picture in the manner of a classical, perfectly-lit studio portrait, posing with found objects as “costume” – a footstool as a helmet, say. There is so much to unpick in these images – references to colonialism, Apartheid, to the politics of race and representation, to femininity and “women’s work”.  Muholi presents us with a kaleidoscope of views of injustice, equal parts beautiful and brutal. The photographs were created in different parts of the world, at different times, combining what could almost be witty accessorising with intense cultural and political commentary.

Quinso, The Sails, Durban (2019)

The intellectual focus of every picture is slightly different. Zamile, KwaThema (2016) shows Muholi draped in a striped blanket, as used in South African prisons during Apartheid. In Quinso, The Sails, Durban (2019) Muholi’s hair is adorned with silvery Afro combs, a symbol of African and African diaspora cultural pride. In Nolwazi II, Nuoro, Italy (2015) their hair is stuffed with pens – a reference to the “pencil test” whereby, under Apartheid, if a pencil pushed into a person’s hair fell out they were “classified as white”.

Nolwazi II, Nuoro, Italy (2015)

As mentioned above, Muholi calls themselves a visual activist rather than an artist – though galleries, like Tate Modern, might beg to disagree. Walking through this exhibition, I came away with the impression that their work is on the intersection of art and documentary photography – but also that everything is documentary: everything is story telling, and bearing witness, and the place where “documenting the community” and “expressing oneself as an artist” is continually blurred.

Maybe it’s not just like discovering a new country: maybe Zanele Muholi is showing us a whole new world.

Zanele Muholi is at Tate Modern until May 31, 2021

[surveys-at-your-service]

Survey #378

“come as you are, as you were, as i want you to be”

Have you ever dreamt in another language? No. How long will you try out something you don’t enjoy before giving up on it? It really depends, but in most cases, admittedly very quickly. What’s something you recently realized or discovered about yourself? *shrug* What’s the most interesting news you read or received recently? What about the most depressing? Not in a good way really, but it was certainly interesting to learn I have such severe sleep apnea. Like, I was certain I didn't. The most depressing would be uhhhh... I guess Jason's mother's death, but I don't know how "recent" you'd consider that by now. Would you let politics get in the way of a relationship? It depends. Some beliefs I absolutely would not tolerate (like anti-LGBT), others I would just agree to disagree with. What is one way in which you need to learn to control yourself? I need to get better at controlling my mouth when I'm extremely upset. Do you use a photo editor? I use Lightroom and Photoshop for photography. Is your dad overweight? No, I think he's actually underweight. Ever been honked at? Yes. What’s the name of the most recent baby a friend has had? Easton, I think? An old middle school friend had him. Have you ever taken medication to help you fall asleep faster? Yes, but they never work for me. How did your parents pick your name? I dunno. If you had to move to another country, where would you move? Canada. Do you have a balcony? No. Who is a singer that has given you chills? Man, I get chills easily with music. David Draiman from Disturbed, his cover of "Sound of Silence" is BREATHTAKING. That's number one. There are many others, they're just not coming to me at the moment. Do you have a drone? No. What was the spiciest thing you’ve ever eaten? Some wings at Buffalo Wild Wings. I got some crazy hot sauce. Have you ever discovered something gross in your food at McDonalds? No. What was the last thing you used sliced bread to make? A sandwich. How long did your shortest relationship last? Like a day lmao. Would you rather have a trampoline or swimming pool? A POOL!!!! I've talked before about how I want one so, SO very badly to exercise my legs without having to worry about sweat, and I can take a break the very moment I need to. Do you own a Snuggie? Yeah, somewhere. Do you listen to any unsigned bands/singers? Who? Yeah, quite a few on YouTube, but my favorite in Jonathan Young. He is SO damn talented. Who is your favorite video game character? Pyramid Head from the Silent Hill franchise. What kind of pictures do you post on Facebook/Instagram/Snapchat most frequently? Mostly of my pets lmao. Have you ever been on vacation with a significant other? No. Have you ever considered “unplugging”/taking a significant period of time away from technology? No. I know I'd never stick to it. Do you prefer to watch a documentary that is about a situation/event or a documentary that is more of a personal character study/biography? The latter. Meerkat Manor comes to mind with that, and everyone knows how much I adore that show. There was also one about rhesus macaques I fell in love with. Basically, I love animal docs, haha. Can you think of a recent time in which you might have been better off resisting, but you did something because you “just couldn’t help yourself”? Probably eating something. When you are getting to know someone, do you tend to worry that the other person will lose interest in you once they get to know the “real” you? Yyyyep. What is something that you would like to do, but really aren’t able to because of your location? (e.g., see art or get a certain job) Man, a lot of things. Photograph meerkats is a biggie. What sort of job do you think is best suited for your skills? Is this an in-demand position or something you’re unlikely to actually get? If I could actually handle the heat and was in good shape to traverse the outdoors, I think I'd be a great wildlife biologist. Even more though, if I could beat my social anxiety, I would ADORE being an animal educator with kids. Do you believe it is the responsibility of businesses, or prominent business leaders (think Bill Gates) to take the lead on social issues whether by using their influence or their money? Saying it's their "responsibility" sounds unfair and puts a lot of weight on their shoulders, but I do feel they should by their own volition and kindness use their position for good, such as through monetary assistance and other things. Have you ever gone to a job interview and realized that you didn’t want the job? Yep. Have you ever asked that someone sacrifice something (a habit, relationship, job, etc.) for you? A habit, yes. Looking back it was stupid as shit. What would you call your body type? Ew. Has anyone ever hacked your accounts before? Yes. Do you enjoy big holiday dinners? Considering I spend them with my sister's bigoted, homophobic, and racist in-laws, not especially. I always feel very uncomfortable and disliked among everyone for being the "black sheep" among 'em. Is your vision good? God no. Even with my glasses, it's very poor. I need a new prescription badly. Do both of your parents have jobs? Mom has something of the sort, like she cleans a local church for a small pay, but it's not really a "job." She's still recovering from cancer, getting her strength back up and such before she can handle a consistent job. Dad's had a job for as long as I've lived. What is something you’ve always wanted a boy to do for you? How heteronormative. But whatever. It's so fucking cheesy, but singing a cute song to me while slowdancing sounds so super adorable to me. What food are you craving right now? I am craving something sweet like you wouldn't believe. It's annoying. Have you ever been in a car accident? Yes. Do you have a lot of scars? Yes, but most are very negligible. I just scar extremely easily. Last person you saw other than your family? My primary doctor. Last movie you’ve seen in theaters? The The Lion King remake. Who was the last person you played a video game with? Ummm I think Girt. Last game you played at an arcade? Zero clue. What was your favorite nursery rhyme as a child? I THINK I particularly liked "The Itsy-Bitsy Spider?" None stand out strongly, though. What is your favorite cousin’s first name? I don’t have a favorite cousin. Would you prefer to travel around the world by yourself or with a friend? I think with a friend to prevent loneliness, but at the very same time, I see a great beauty in traveling on your own. Just taking new things in, seeing so many different cultures, beautiful scenery... I feel it'd be a great chance for exploration of insight. Remind yourself how small you are, that there's a much, much bigger picture than your own problems, that people are so unique but hopefully share common morals... I see a lot of poetry in it. Do you like the smell of coffee? It's one of my favorite smells. If you have a favorite photographer, can you describe their work? I can't possibly pick. I watch literally hundreds on deviantART, and many of them absolutely blow my mind. What’s one aspect of your life that did not turn out as you expected? My lack of a career. Outside of school, have you ever used a thesaurus? Well, online ones for writing. When you see a good-looking girl in skimpy clothing, what is your initial thought? I envy her confidence, like gotdamn girl. Have you ever been in a lighthouse? No. Are you on a laptop or desktop? A laptop. What color is your shower? White. Where do you order your pizza from? Domino's or Little Caesar's. What was the name of the last dog you pet? We've been calling the dog we're holding right now Zoe. Have you ever had anything stolen from you? Yes. Have you ever seen the White House? I don't think so, but it's possible I have when we've driven up to New York, but from a distance. How about Niagara Falls? No. What do you like in your salads and what dressing do you prefer? I just like regular iceberg lettuce with some bacon bits and ranch. Man, that sounds good right about now. Any posters of a band on your bedroom wall? Yeah, Metallica and Marilyn Manson. Do you think it’d be cool to have your body mummified after you die? No. I couldn't rock the mummy look even if I tried, haha. Can you tell the difference between a Scottish & an Irish accent? Not really, no. Can you read music? I used to be able to. Do you work the night shift? I don’t have a job, but if I did, I absolutely do not want to work the night shift anywhere. Have you ever slept over at your best friend’s house? Yes. Is your mother diabetic? Are you? She is, but I'm not. Would you like to learn how to make ceramic pottery? It'd be cool, sure. Ever sang someone to sleep? No. Who did you last kiss? My cat. Why did you last lie? I don't recall. Probably to just avoid confrontation with Mom. What do you put on your hamburgers? Cheese, ketchup, and mustard, generally. Who do you think cares the most about you? My mom. Have you ever sent a dirty picture? No. What’s at the center of your dining table? Honestly, we sit in there so rarely that I don't even know. I think we might have nothing, actually. Have you ever started a rumor? No. Do you like being outside? If it's cool, yes. What’s your favourite condiment? Maybe ketchup. Or honey mustard. Who sang/played the last song you listened to? Chris Motionless is the singer of Motionless In White. I don't know if that's his real last name, though. Do you like yoga? I used to. Now all the bending and shit would make me dizzy as hell with my "how are you still alive" level of low blood pressure. Do you always carry breath mints? No, but I do carry Tictacs with me, but they're for my dry mouth. It forces you to salivate, so it helps. What do you think your reaction would be upon entering the White House? I don't really know. I honestly don't even know how it looks inside. Thinking about it, I'd probably be more scared than anything, waiting for a bomb to drop or some shit lmao. Have you ever grown your own sea monkeys or dinosaurs? OH MY GOD I LOVED those!!! I definitely did! Have you ever thrown a game controller (or the game) and broke it? No, I've never been the type to do that. If I'm SERIOUSLY getting mad, all I do is tighten my grip. Did you ever own an Etch-a-Sketch? Yes. Do/did you ever have glow-in-the-dark stars on your ceiling? I believe so. What movie were you really worked up for that ended up disappointing you? My answer is Warcraft, but only because the fucking orcs' voices were so baritone that I couldn't understand them almost ever lmaooo. Like I had a mild idea of what was going on because of the game, but still. What part of a paper is hardest for you to write? The intro, or the conclusion. Both are difficult to me. Like I want to compose a gripping beginning as well as an end that doesn't just repeat everything I've already said and ends on a strong note. Does it bother you that almost everything is done on computers now? No. KFC Chicken: original or extra crispy? I don't like fried chicken. Think about your first kiss. Did you have any idea what you were doing? I mean, I guess? Like I'd seen kisses enough to know how to give someone a peck. It just came naturally. Did you get Happy Meals just for the toys as a kid? Not just for the toy, but it's the main thing I wanted, sure. Have you ever seen your parents cry? If so, how did it make you feel? Seeing my mom cry absolutely destroys me. I don't want her to hurt EVER. Especially if it's seriously unfair bullshit that has her upset, I also get very angry (not at her, of course) and protective. I've seen Dad tear up once, back when he was telling us about his mother's funeral, and I felt immense surprise more than anything. He does NOT cry. How do you feel about animal testing? It's fucking disgusting and barbaric. Find a different goddamn way. Do you add condiments to your ice cream, or just eat it plain? If I'm having vanilla, I'll usually add chocolate syrup. Have you ever witnessed a crime? Yes. What’s the coolest personalized license plate you’ve ever seen? I'm forever gonna get a kick out of this one that just said "omw," haha.

[khalilhumam]

The Mexican indigenous artists who are defying labels and stereotypes

New Post has been published on http://khalilhumam.com/the-mexican-indigenous-artists-who-are-defying-labels-and-stereotypes/

The Mexican indigenous artists who are defying labels and stereotypes

We are sharing our visual libraries to inspire future generations of illustrators

The people from Malacateticpac, 2015, by the author, Isela Xospa.

My name is Isela Xospa and I am a freelance illustrator and editor. The graphic design project that I am developing is the result of a personal journey to find ways of asserting my indigenous identity in a contemporary and transnational context. Discovering and embracing my indigenous identity has given me the tools to build new ways of sharing an inner world that is heavily influenced by the culture of the indigenous people living south of Mexico City.

Night of the paper balloons, 2019, by the author, Isela Xospa.

For the International Day of the World’s Indigenous Peoples on August 9, I decided to share the work of young illustrators of indigenous origin and I am sharing them again in this article. I wanted to do this because there are not many illustrators out there who identify as indigenous. The other reason was that, far from trying to stereotype, I believe it is important to publish their work as a provocation that seeks to challenge the imagery and labels assigned to indigenous people and their representations. We must not waste these opportunities to question the formats and styles that are used to represent indigenous groups in the world of illustration. These should be treated as windows of opportunity to rebel against the imposition of the non-indigenous, to make our political stances known and to put forward suggestions, outcomes and ideas to encourage the creation of new narratives and readings, made by and for the indigenous population. For us, the International Day of the World's Indigenous Peoples is not a celebration of labels, customs or exoticisms. Instead, it must acknowledge the systematic attempts to erase us and to integrate us into a nation-state project, which has led to the loss of languages, territories, clothing, knowledge, health and opportunities of indigenous peoples. From the small place that inspired our creativity, some of us with our political views and others with the prevailing need to express ourselves vividly and visually, we will continue to create narratives for children, young people and adults from native populations. We hope that our stories will touch, transform and impact future generations of graphic storytellers who return to, use and embrace their culture. From our creative spaces, we share with you our visual libraries.

Social media: Xospatronik XospatronikNYC @EXospatronik

Mitzy Juárez

Mitzy Juárez is an illustrator and graphic designer from the Chocholteco Ngiba indigenous tribe in Oaxaca, southern Mexico. She was born and raised in a small, remote town on the plains of the Mixteca region of Oaxaca, home to the area’s most beautiful natural springs. The inspiration for Mitzy's drawings comes from the people, the language and the traditions with which she grew up. Through drawing, she has found a way of preserving the knowledge that she inherited from her community—the knowledge that she carries with her wherever she goes.

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¡De la Milpa a la ciudad vino el elotito en el viento, cruzando mares y ríos, llanos, veredas y cerros! (Gabriel del Río) ¡Tchíxa! ¡El elotito! #inktober #chocholteco #ngiba #lenguasoriginarias #ilustración #winsorandnewton #pentel #ilustradoramexicana #elote #maiz #corn #illustration #nativelanguages

A post shared by Mitzy Juárez (@mitzyjuarez.jpg) on Oct 18, 2019 at 12:40pm PDT

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The little corn was carried by the wind from the Milpa farms to the city, crossing seas and rivers, plains, roads and mountains! (Gabriel del Río) It's Tchíxa, the little corn!

Social media: Mitzy Juárez Mitzy Juárez

David Canul, el pájaro Toj (the ‘Toj’ bird)

David Canul is originally from the Mayan territory of Campeche on the Gulf of Mexico. His hybrid work as a professional illustrator ranges from research books, poetry, content for children and even ceramics. He is also involved in organising, managing and promoting children’s and young adult literature festivals in the Yucatán Peninsula.

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Fantasías en bicicleta Técnica: scratch y color digital #scratch #pajarotojilustrador #drawing #illustration #illustratoroninstagram #illustragram #ilustracióninfantil #lij #illustrationartists #illustrationartist #illustrated #librosparaniños #illustracion #moreillustrations #illustrationnow #theillustrationroom #illustrator #illustratrice #illustrationoftheday #illustratorsoninstagram #instaart #instaartist #instartists #xolo #childrensbooks #creativeart #art_spotlight #artwork #artistoninstagram #art

A post shared by PájaroToj Ilustrador (@pajarotoj.ilustrador) on Mar 5, 2020 at 3:36pm PST

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Bicycle Fantasies Technique: scratch and digital colour

Social media: Pájaro Toj Ilustrador  El Pájaro Toj

Griss Romero

An element that stands out in Griss Romero's work is the jaguar, also known as “tekuani” or “tiger” and is one of the most important identity symbols in the state of Guerrero. Griss finds inspiration in the ancestral roots and culture of the Nahua community in Acatlán. She uses her art as a tool to raise awareness of the indigenous peoples in the state of Guerrero in southwestern Mexico, and to showcase their agricultural beliefs and rituals. Griss currently has a piece featured in the Poetics of Colour virtual art exhibition and will soon feature in the virtual exhibition “FROM MY WINDOW — Longing of an Artist in Quarantine”.

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A post shared by Griss Romero (@grisssromero) on Aug 11, 2020 at 7:10am PDT

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Social media: Griss Romero   Griss Romero

Cuauhtémoc Wetzka

Cuauhtémoc Wetzka is a graphic designer and illustrator who has exhibited works in Argentina, Colombia, Spain, France, Estonia, Poland, China, Canada and the United States. Cuauhtémoc is from the Nahua community of the Sierra de Zongolica located in the central region of the state of Veracruz, which lies along Mexico's Atlantic coast. In 2015, he was awarded first place in the Mexican National Council for Culture and Arts’ 25th Catalogue of Illustrators for Children's and Young Adult Publications. In the same year, he was also a finalist in the Art Contest and Exhibition for Children by Hispanic Artists in Las Vegas, Nevada. He has also spoken at various international conferences and has been recognised for his work on printed posters.

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A post shared by Cuauhtemoc Wetzka (@cuauhtemocwetzka) on Jun 25, 2019 at 2:41pm PDT

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Social media: Behance: Cuauhtémoc Wetzka  Cuauhtémoc Wetzka  Wetzka Temo

Gil Kupyum (Gilberto Delgado)

Gilberto Kupyum is from Tlahuitoltepec Mixe, an indigenous community located in Oaxaca's northwest region, an area of fog and forest. In his work, he uses themes such as nature, oral tradition and music, which he captures in various media, for example, painting, screen printing, engraving, lithography and ceramics. His real name is Gilberto Delgado but is called Gil Kupyum or Mish Kupyum by his friends, which means “woodpecker boy” in the Ayuujk language. He identifies with this bird because wood carvings are used in graphic design. Gilberto Kupyum also works with women and young people from his community. Together they make bags, shirts, notebooks, prints and other products to create a source of community employment.

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#rompecabezas

A post shared by Gil Kupyum (@kupyum) on Jun 7, 2020 at 2:47pm PDT

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Social media:  Gil Kupyum Gilberto Kupyum

Valentín Peralta

Valentín Peralta Betanzos belongs to the Mazatec indigenous group and is originally from the town of Eloxochitlán de Flores Magón, one of the 45 municipalities that make up the Cañada region of Oaxaca. Valentín admits that he is attracted to the contemporary world and incorporates new concepts and materials into his current works while focusing on variety since he believes that art is a language and an expression of all the senses.

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MARIA SABINA Un homenaje a maria sabina ,mujer mazateca ….. conocida como la "sacerdotisa de los hongos sagrados" . Algo que me gusto mucho hacer , cuando te acuerdas de aquellas montañas tan llenas de vida…. a la gente que te rodea ,los rostros y las miradas …. modelado en plastilina. #arteoaxaca #modelingclay #plastilina #art #plasticine #hechoamano

A post shared by Valentin peralta (@plastivaleando) on Jun 23, 2019 at 5:21pm PDT

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MARIA SABINA A homage to Maria Sabina, a Mazatec woman known as the “priestess of the sacred mushrooms.” This is something I really enjoy doing…when you remember those mountains that are so full of life, the people that surround you, the faces and the gazes…modelled in plasticine.

Social media:  Valentín Peralta  Valentín Peralta

Vics Gaspar

Victoria Gaspar Teodocio is a Zapotec woman descended from the San Melchor Betaza community in Oaxaca. She is an illustrator who studied Graphic Design at the National Autonomous University of Mexico. Vics uses her illustrations on handmade notebooks and silkscreen prints in different media, and also enjoys working on documentary and portrait photography. The protagonists in Vic's art are women expressing their freedom, passion and love. Her illustrations are a tribute to her mother, grandmothers, and all the women who have had an influence on her life. Vic is part of the mountain group called Dill Yel Nbán, which focuses on promoting the Zapotec language.

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Mujeres músicas de la Sierra Norte de Oaxaca, de San Melchor Betaza y Villa Hidalgo Yalálag. La música serrana es identidad, herencia, canto, luz, fortaleza, alegría, sabiduría, memoria, danza, es historia bordada en huipil, en refajo que no dejará de florecer en comunidad. .

. #ilustracional #illustration #ilustración #ilustradoresmexicanos #ilustradoresmexico #artistasmexicanas #artistasmexicanos

A post shared by Vics Gaspar

(@vics_gate) on Sep 16, 2020 at 3:22pm PDT

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Female musicians from the towns of San Melchor Betaza and Villa Hidalgo Yalálag in the Sierra Norte de Oaxaca region. Music from the mountains is identity, inheritance, song, light, strength, happiness, wisdom, memory, dance, it is history embroidered in a huipil, in a skirt that will not cease to flourish in the community.

Social media: Vics Gaspar Vics Gaspar

Written by Isela Xospa Translated by Emma Dewick · View original post [es]

[siobhanchalmersphotography]

Oscar Marzaroli exhibition review

'Street Games, Back Court, Gorbals 1964' - © Oscar Marzaroli / The Marzaroli Collection

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How does the flyer/poster advertise the exhibition?

The flyer for the exhibition advertises Oscar Marzaroli as ‘arguably Scotland’s most notable documentary photographer’. It informs us that the work spans the 50s through to the 80s, during a period of immense change within the city

What is the suitability of the gallery space? How is the exhibition laid out?

The gallery is bright with lots of natural lighting from the large windows, with an all white painted interior, which provides a crisp and neutral environment for the work on display to stand out. The gallery is split over two rooms, which gives each section a more intimate feel. The rooms are square/ rectangular in shape which allows the viewers to keep an even distance throughout.

How has the work been mounted? Is this appropriate for the work?

There are some really large scale photo prints on certain walls which provide a backdrop to the framed prints, which are mounted in plain black frames, which ties in with and complements, without overshadowing, the photos themselves.

Who made the work?

The photos were taken by Oscar Marzaroli, and all of his photographic work including negatives, contact sheets, and other materials were donated by his family (The Marzaroli Collection) to Glasgow Caledonian University to archive. It was through the scanning and archiving process that the exhibition was made.

Who did they make it for, who is the audience?

Marzaroli’s work is integral to the visual documentation of historic Glasgow. I think the exhibition was made for the residents of the city; for those who grew up in the era, people interested in the history of the city, and as an educational body of work for people who may not be familiar with the extreme poverty of the past.  

How does it make you feel?

I had been a big fan of the artist before seeing the exhibition, as I am particularly interested in social documentary photography, as well as socio-political history in general. I felt very lucky to be able to see the prints first hand, and it had extra significance seeing a selection of the body of work which documents my home city of Glasgow, in a gallery in Glasgow.  

If the work has a title does it make you think about the image/s differently?

I found the titles made me think of the images differently in that I became more appreciative and connected to the image when able to understand a bit of context behind it – even if it is simply where in Glasgow the photo was taken.

How would I describe it to someone later?

I would describe the work to someone as a must-see, fascinating exhibition. This is due to how important I find the subject matter of social history, but also how much heart and soul is in the body of work. I actually recommended the show to class mates and family after viewing the exhibition myself last term!  

Does the photograph make you want to ask questions, what are these questions?

Seeing the conditions that the people lived in, how they lived their lives, and the clear poverty of the area, makes me want to further research the history and understand why this came to be.

Is the photograph valuable? How do you know?

I think that the photos are very valuable in that they provide a visual record of the city throughout the decades in a time when very few people were able to take photographs. There is also added value in the sense of the working class people being given a voice, and having their experiences captured directly, in a way that is often missing from mainstream documentation. I appreciate the diversity of the experiences captured – it gives a real insight into the sense of community, comradery, and fun, juxtaposed with the destitution. The East End of the city is infamous for its deprivation and crime in these times, but I feel like the photos show that there was so much more to it, in spite of the conditions. The human element, not sensationalized, or captured in a voyeuristic way, is incredibly valuable.  

Is the work for sale and who might buy it?

The body of work now belongs to the Glasgow Caledonian University archival department, but I am sure that there would be great interest in prints from buyers in other galleries, and private collectors alike.

What information is available about the artist/s?

There is a great deal of information available about the artist through the foundation his family set up, along with articles online, and the film Lost Glasgow on YouTube .

Who organised the exhibition and who selected the work?

The exhibition was organised by Street Level Photoworks in conjunction with Glasgow Caladonian University, and The Oscar Marzaroli Collection set up by his family.

[sheltiechicago]

Political and documentary photography posters from the 1970s

In the late 70s, the cash-strapped Half Moon Gallery in London developed an innovative approach to getting its shows seen. Showcasing socially engaged photographers such as Daniel Meadows, Janine Wiedel and Philip Jones Griffiths, it laminated their prints and shipped them by rail as touring exhibitions.

Lost at School, 1979. In the 70s, George Plemper took up a teaching post at Riverside school in Thamesmead, and he documented his students and surroundings, processing his photographs in his bathroom. The title reflected Plemper’s own feelings about working in the education system, but many took the title to be about the students themselves. After being exhibited as a Half Moon touring show, the photographs remained unseen for 30 years until Plemper uploaded them to Flickr.

Photograph: George Plemper

[practicegallerynyc]

ICP Lab: Queering the Collection

March 25, 2018, 3-5:30pm, ICP Museum, 250 Bowery, New York, NY 10012

Artist Christopher Clary hosts a show-and-tell workshop for the ICP Library series Queering the Collection. Ten artists and collectives will present works that range from a zine project that documents the death of nine men at a 1970s gay bathhouse to a journal that promotes critical engagement with contemporary art and politics from artists, writers, and thinkers who work outside of mainstream discourses. Join the conversation to define and complicate the very notion of what it means to queer through insights from the ICP Library’s collection.

Queering the Collection is a series of exhibitions and events originally conceived by Emily Dunne of the ICP Library and Brett Erich Suemnicht of GenderFail as an intervention in the library. GenderFail is a publishing and programming initiative featuring the perspectives of queer and trans people and people of color. The project looks to build up, reinforce, and open opportunities for creative projects. The hope at ICP Library is to present work of and outside the collection as a way to excavate and acquire new material as well as to expand the voices of artists in the collection.

Participants:

Practice began as an independent, not-for-profit gallery run by Philip Tomaru in the Lower East Side of New York City. The limits and contextualization of self-publishing within contemporary artistic practices was a particular emphasis area, as seen through several projects realized in the space including Visible Scene, Conversations in Print, and Poster, a collaborative experimental publishing project involving over a dozen artists. After a year of programming, the gallery is now nomadic without a public space and renamed Private Practice. Most recently, Shelves, Cabinets, Closets was exhibited in a small Paris residential apartment for one evening that coincided with the Paris Ass Book Fair at the Palais de Tokyo.

Aaron Krach is an artist and writer based in New York City. He works with people, books, rocks, text, vodka, and frogs to make books, sculptures, prints, and installations. He exhibits in galleries, book fairs, and public spaces in cities large (Sao Paulo and New York City) and small (Lake Ohrid, Macedonia). He once hired a hustler to make paintings with a frog. Krach has also collaborated with American soldiers in Afghanistan to ship useless stones from Kabul to New York City. Often his work is distributed through newspapers, email, t-shirts, and bookstores. Recent books include, Almost Everything (Dark Pools), about the dark side of Mies Van der Rohe, and Richard Prince Cowboy, Chris, and Jennifer, which underline and undermine the star system. Recently he reconstructed a 25,000-image archive into a set of 10 encyclopedic image books. Aaron is a two-time recipient of a Lower Manhattan Cultural Grant for Public Art. His first novel, Half-Life, was published by Alyson Books.

Alice O’Malley is a New York photographer whose portraits comprise an archive of downtown’s most notorious artists, performers, and muses. Her work has been exhibited in museums and galleries internationally, including PS1/MOMA, the Art Gallery of Ontario, the ICP Museum, agnes b. galerie du jour, and Participant, Inc. She has contributed editorial work for numerous publications, including the New York Times, Vogue, and the New Yorker. O’Malley teaches in the Documentary Practice and Visual Journalism program at the International Center of Photography.

Anthony Malone is an artist based in New York City (Lower East Side). Hailing originally from Winesburg, Ohio, Malone moved to the east coast to attend Yale University. He then went abroad to the University of Stockholm for graduate work in shipping and banking law. He currently feels a strong repulsion and disconnect with his academic career, so he focuses instead on what makes him happy, his art practice. In 2013, Malone started working on a multi-disciplinary project inspired by the 1977 fire at the Everard Baths. He has published a series of zines (For Everard) and artist books and has exhibited his publications internationally at art book fairs, small galleries, and private spaces. In 2017, on the 40th anniversary of the fire at the Everard Baths, Malone conceived and executed a performance to honor the memory of the nine victims of the Everard tragedy.

Linda LaBeija is a multidisciplinary artist, organizer, and curator from Bronx, New York. Her work explores the complexities of living as a transgender woman of color in today’s America. With origins in both Black America and the English/Spanish-speaking Caribbean, Linda’s transnational experience of living at the intersection of embodied, social, and national borders hones in on the critiques of hegemonic power. Born out of the Iconic House of LaBeija in the underground New York City Vogue Ballroom scene, Linda’s pursuit of spoken word infused music sound has been featured in articles in both Afropunk and The Fader. She has performed in various theaters and venues including the Cherrylane Theater, the National Black Theater of Harlem, and El Teatro of Museo Del Barrio. She has performed with wonderful voices and writers such as StaceyAnn Chin and Me’shell Ndegeoecello. She can also be seen in the feature film Pariah directed by Dee Rees.

Christopher Clary is an artist, author, and curator exploring queer communication through poor media. He was a 2017 Eyebeam Resident finalist for his research of safe space in networked culture that was realized as an online platform for The Wrong digital art biennial. His porn, novella commission for Rhizome at the New Museum was honored by Hyperallergic and acquired by the libraries at ICP, MoMA, the Whitney, and the Walker. His photography was exhibited for the Discovery Award at the Rencontres d’Arles in France. In March 2018, he exhibited and performed for the Paris Ass Book Fair at the Palais de Tokyo.

Molly Soda (b. 1989) is a visual artist based in Brooklyn. She works across a variety of digital platforms, producing videos, GIFs, zines, and web-based performance art, which can be found both online and in physical installations. Her recent solo shows includeI’m Just Happy to Be Here at 315 Gallery, Brooklyn, NY, 2017; Thanks For the Add! at Leiminspace, Los Angeles, CA, 2017; and Comfort Zone at Annka Kultys Gallery, London, UK, 2016.

Patricia Silva is a Lisbon-born, New York–based photo and video artist. Silva’s films have been screened in film festivals and screening series at MIT List Visual Arts Center, USA (2017); Contemporary Center of Art Glasgow, UK (2017); IFC Theater, USA (2016); MoMA PS1 Theater, USA (2016); British Film Institute, UK (2016); and Colorado Photographic Arts Center, USA (2016). Her photo books have been exhibited in group shows at the Benaki Museum, Greece (2017); Phoenix Museum of Art, USA (2016-17); Ateliê da Imagem, Rio de Janeiro, Brazil (2015–16). Her photographs have been exhibited in group shows at Flux Factory, USA, (2017); the International Center of Photography, New York, USA (2013); Berlin Biennale, Berlin, Germany (2012); and were recently published in Der Grief, Number 10, the 10th Anniversary Issue, and are currently on their way to an exhibition in South America.

Shiv Kotecha is a writer, artist, and scholar living in Brooklyn. He is most recently the author of a chapbook, Unlovable (Troll Thread, 2016), and Extrigue (Make Now, 2015), a shot-by-shot poetic rendering of Billy Wilder’s Double Indemnity. His first solo-show, a multimedia installation, Looking for Richard, was displayed at Ginerva Gambino (Cologne, Germany) in 2015. Other work can be found online on GaussPDF, Jacket2, Social Text, and elsewhere. He is also a PhD candidate at New York Univeristy, finishing a dissertation titled The Bait and the Switch: Durational Writing from E. A. Poe to AIDS.

unbag is a semi-annual magazine that promotes critical engagement with contemporary art and politics. Commissioning artists, writers, and thinkers who work outside of mainstream discourses, unbag functions as a space to explore ideas through discussion and exchange. Andy Wentz handles operations and productions for unbag. Mylo Mendez is an unbag editor and also works with the zine distro We’re Hir We’re Queer.

Photos: installation views of Visible Scene and Conversations in Print.

[daisyguanisme]

Blog post 1: Power dynamics between humans and the nature & True “owners” of human brains.

     The endless pursuit of power socially and economically keeps stressing the problem and intense conflict. After reading Carol A Stabile’s article, I am impressed and start to think about the power of religion. In the case of whether abortion should be legalized, there are two separate groups as “pro-life” and “pro-choice”. The main argument held by “pro-choice” is the power endowed by women that they should be able to have total control and right of their bodies, which is criticized by “pro-life” as the pure pursue of such power is selfish. However, the essence of the “pro-life” group also has to do with power but being manipulated by the power of religion. I found a documentary movie poster (https://www.google.com/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwin7Nun8-zkAhVVuZ4KHZCzBWcQjRx6BAgBEAQ&url=https%3A%2F%2Fwww.imdb.com%2Ftitle%2Ftt8948614%2F&psig=AOvVaw1orJvd3FkJmc9yzBPEXRR6&ust=1569532748586751) precisely depicts the conflict between individuals and authoritative groups: In the poster, a pregnant woman stands facing the supreme court by only showing her back. Comparing with the huge architecture, the woman seems pretty insignificant, and those countless steps indicate the metaphor of struggles and doubts she has to be through if she just wants the right to control her uterus. Besides, the court is in the dark, which makes me feel uncontrollable and mysterious, while the woman is standing under the light which emphasized how vulnerable she is to be attacked. The visual contrast of being huge and small, dark and bright can easily raise sympathy towards women themselves. As mentioned in the article that the development of visual technologies makes it possible to show “photos” of embryos. But the logic here is chop because simply defining women who choose to give up their babies as murder ignores the mental and social struggles experienced by pregnant women. Going back yo the poster, the woman firmly stands straight that indicates her determined mind to fight while putting her hands on her belly. Such physical gesture shows her instinctual care and love for her baby, which emphasizes that abortion is a decision made with deep grief after considering the reality. Therefore, the visual image shows that women are brave and pitiful. Next, the sculptures are positioned in the “God-like” view of point to show the repression towards female bodies. And it also functions as a metaphor saying how humans are still being manipulated and guided by the power of religions and natural law. At last, I consider the improvement of visual technologies as a sign of how human has earned more power facing nature. 

I also think that pregnant women are de-humanized as merely tools for carriage the baby instead of a mother. For example, the case of the woman being charged after she gets shot proves such point of view: people tend to ignore the mother’s emotions and mental connection with the baby, and they assume her being cold-blooded. Even for women who choose to abortion, they make such a decision not because they want to merely follow their wishes but is actually a hard decision resulted after considering the financial situation, living environment, and social pressures.  Therefore, After evolving and building human society for thousands of years, human brains are superior enough to make some changes against the natural law. 

 Next, Meredith’s work makes me think about whether we know our brains. As the visual technology develops, people are able to view the brain activities scientifically, and it makes brain an objective organ to be looked at. However, the idea of brain being an organ is also given by our brains. So are we have control over our brains as owners or are our bodies just physical forms used by brains to control us? Meredith W. Michales expresses his point: “brain is the source of literally all human thought, emotion, and behavior…”(2). It reminds me of two episodes from the Netflix series called Love, Death, and Roberts. One is called “Sonnie’s edge” which talks about Sonnie inserts and keeps her brain in the scary monster, which emphasizes the idea of how the brain can produce every single thought human have and they can independently exist without human, so humans are not their owners at all.video: https://www.youtube.com/watch?v=Y6iupb9TWJE&has_verified=1In the episode called “The Whiteness”, there are several explanations towards the endings, but the most popular one defines that the girl and the man are trapped in this murder cycle and they have to repeat such a scenario endlessly. However, I noticed that when the girl is escaping on the street, a huge advertisement sign has the words “She’s MAD”.

     I think the explanation could be that her brain is the source of everything but not serving her but control her. The girl is just a tool for the brain to exist and experience the world because every one of her single actions is composed and demanded from her brain, maybe even the definition of “self” is also a trick played by the human brain. 

References:

Michaels, Meredith W. Brain Culture: Neuroscience and Popular Media. “The           Rhetorical Brain.”2011. Accessed September 24, 2019.

Stabile, Carol A. Shooting the Mother: Fetal Photography and the Politics of           Disappearance. January 28, 1992. Accessed September 24, 2019.

[imysphotography4]

DOCUMENT TASK

In today's lesson, we had to take up to about 6 photographs about college life.

We could think about:

human behaviour

using objects only

composition and framing

After taking all my shots, I edited them in Photoshop. I first of all turned them into monochrome, I then changed the basics which were the exposure, contrast, blacks, whites and brightness. I am really happy with how all my photographs turned out because I have multiple photos in different locations, showing something different in each one. I am especially proud of the first two photographs and the one where the woman is looking through the window. I like these because I did various compositions and each one is edited differently, for example the first one, the contrast is quite high whereas, the second one is a lot lighter and I focused on leading lines. For improvement, I would like to have a bigger lens, so that I can get shots from further away because I saw a couple of opportunities to photograph people walking up and downstairs however, they were on the other side of the building and I couldn’t really capture it very well.

For the task, I shot in aperture priority and these were my camera settings:

Aperture - f3.5

Shutter speed - 1/1600

ISO - 1600

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RESEARCH TASK

For the research task, we had to find at least 10 examples of documentary photography and write about them. I chose the following two photographers...

WOMEN IN WAR - SONJA HAMAD

Who is the photographer?

The photographers name is Sonja Hamad. She was born in 1986 in Damascus, Syria and she now lives and works in Berlin. In 2013 she started the project “Jin, Jiyan, Azadi – Frauen, Leben, Freiheit – die kurdischen Freiheitskämpferinnen” (“Jin, Jiyan, Azadi - Women, Life, Freedom – the Kurdish Freedom Fighters”). 

How did they achieve the photograph? What camera techniques did they use?

She achieved this by travelling and seeing what women in war have to live like. She photographed this by having the subject slightly to one side and having the gun positioned next to her.

What is being documented?

We see a woman in uniform who seems to be asleep and her gun lent on the wall next to her. We see the woman’s sleeping condition and her lifestyle. The gun next to her shows that she is always prepared for attack and knows that safety is key.

What is the context of the image? (year, country, political/economic climate)

The context of this image is political, this is taken in Iraqi Kurdistan located in northern Iraq.

What is being communicated and how is it communicated?

The message being communicated is that women can also fight not just men. This shows that women are just as strong and anyone can protect their country. On the other hand, it communicates that life can be quite scary as most people don’t see it themselves in real life. It also could mean that war is happening everyday all around the world and only a parts of bigger wars, are documented. In this image, Sonja is capturing wars that happen in smaller parts of the world and how much their lives change, so that others are happy and okay.

How does it make you feel? Is this intentional? Or does it make the image work better?

This makes me feel both sad and powerful. It makes me feel sad because war is not a nice thing but it happens everyday and so many lives are at risk, just to fight for their country. Alternatively, this makes me feel powerful because it shows that women are just as equal as men and that everyone can have the same job.

How did they achieve the photograph? What camera techniques did they use?

They achieved this by going to the places where war is happening. She chose to photograph a hole in the wall with lots of bullet holes surrounding it. 

What is being documented?

In this photograph we see a hole in a wall, possibly due to decay and destruction caused from the fight. We also see bullet holes around the hole, this could mean that the person they were shooting at was standing there. The hole could also be protection from the enemy and they were shooting at them from the side of the wall.

What is the context of the image? (year, country, political/economic climate).

The context of this image is political and the life of war. 

What is being communicated and how is it communicated?

It is illustrating that war and weapons are destructive, ether a world or a place ruin.

How does it make you feel? Is this intentional? Or does it make the image work better?

It makes me feel slightly apprehensive for the future because we don’t know what could happen in the future and there is so much conflict all over the world that it makes people scared but also aware.

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LEE FRIEDLANDER

Who is the photographer?

The photographer is Lee Friedlander. He is an American documentary photographer. His photographs include fragments of store-front reflections, structures framed by fences, posters and street signs. He also does portraits of musicians.

How did they achieve the photograph? What camera techniques did they use?

They achieved this photograph by using a 35mm black and white film camera. He took this from above them looking down. 

What is being documented?

We see children and adults dancing to a jazz marching band in New Orleans. They all seem to be having fun and enjoying the music that passes.

What is the context of the image? (year, country, political/economic climate)

The context of this image is culture. Friedlander arrived in New Orleans when jazz was at its high. Jazz was originally played in New Orleans in the first two decades of the twentieth century.

What is being communicated and how is it communicated?

The message being communicated is that everyone is enjoying life and jazz was a big thing at that time, that most people loved watching or listening to it.

How does it make you feel? Is this intentional? Or does it make the image work better?

This makes me feel happy because me seeing all these kids dancing and having fun, just shows how they didn’t care about anything in that moment, they just wanted to have fun.

How did they achieve the photograph? What camera techniques did they use?

They achieved this photograph by using a 35mm monochrome film camera and shooting into a mirror off a vehicle, reflecting a tree. 

What is being documented?

In the first instance, the photographer took a photograph of a mirror which is reflecting a tree and then in the background are people (possibly soldiers) marching.

What is the context of the image? (year, country, political/economic climate).

The image appears to be showing a parade in remembrance of those who fought. This is political as we see people in uniform and normally this could link to some kind of controversy in the world.

What is being communicated and how is it communicated?

As we can see, there is a tree which could suggest loneliness as it is on its own and the photographer decided to capture it with people marching in the background. The tree could also represent a symbol of peace and the dog with its dog house, could show that it is protecting it like the people do for their country. The people marching could mean that they are proud they are helping their country, but also are marching to remember those we lost.

How does it make you feel? Is this intentional? Or does it make the image work better?

This makes me feel happy, sad and proud. It makes me feel happy because these people are protecting us from the world we don’t get to see everyday. This leads on to me feeling sad but also proud because many of these people lose their lives whilst fighting and it’s that is what makes me proud of them.

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FAN HO

Who is the photographer?

This photographers name is Fan Ho. He was born in Shanghai, China. He had a few books, a couple of these were; ‘Hong Kong Yesterday’ (which features the photograph shown above) and ‘The living theatre’.

How did they achieve the photograph? What camera techniques did they use?

He achieved this by finding a wall, in which the shadow castes from the building makes a perfect diagonal line, which is effective because it splits the frame and contrasts between black and white.

What is being documented?

We see a woman standing on the left-hand side, leaning on the wall looking down. We also see that the frame has been separated and we see two different sides, maybe to the woman's emotions.

What is the context of the image? (year, country, political/economic climate).

The shadow is almost splitting it up from dark and light. The light is focused on her which could insinuate that she is the one to focus on. The shadow could represent what she feels and she is trying to push that away and stand in the light, looking for hope.

What is being communicated and how is it communicated?

The woman leaning against the wall looking down could show sadness because when we’re sad, we tend to look down or away from everyone else and try to comfort ourselves, to try and let all emotion out. 

How does it make you feel? Is this intentional? Or does it make the image work better?

In this photograph, I feel like I can relate to her and from personal reasons, know what it’s like to feel alone and the light in a way represents someone who is always looking over me and is always there, even if they’re not physically there.

How did they achieve the photograph? What camera techniques did they use?

I think the photographer has placed their camera on the floor and it is looking towards the staircase, this a low angle shot. 

What is being documented?

I think what is being documented is people milling around a concourse. 

What is the context of the image? (year, country, political/economic climate).

This photograph appears to show people, local to the photographer. The photographer wants to show different lives, for example the man in the suit could represent importance or he may have an important job.

What is being communicated and how is it communicated?

This portrays a train station and the busyness of everyday life. However, this could also show shopping life.

How does it make you feel? Is this intentional? Or does it make the image work better?

I feel like I am there in the image because I feel like I’m lying down myself, watching these people pass by me.

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KELLY CHAMPION

Who is the photographer?

The photographer is Kelly Champion, she is a wedding, family, portrait and documentary photographer. She is based in Adelaide, South Australia. 

How did they achieve the photograph? What camera techniques did they use?

They were able to achieve this photograph by using a 35mm monochrome film camera, and they took a photograph of a few drag queens. They used an over the shoulder look, looking into the mirror and this reflected anyone who was next to or behind the photographer.

What is being documented?

We see drag queens getting ready possibly to do shows. We see them getting ready and there is a little group of three, having a conversation in the background.

What is the context of the image? (year, country, political/economic climate).

This is showing life of drag and these people are showing what they love to do, and they are proud to present themselves because they’re not afraid.

What is being communicated and how is it communicated?

We see a group of people all in drag and this communicates that they want to spread love and get more people who secretly love doing drag, to express themselves and join them so they can feel happy and proud.

How does it make you feel? Is this intentional? Or does it make the image work better?

I feel really cheerful and just delighted to see these people really showing what they love to do. It also makes me feel empowered and I want more people to see that this is amazing.

How did they achieve the photograph? What camera techniques did they use?

They achieved this by using a 35mm monochrome film camera, and the photographer was at eye level to the subjects.

What is being documented?

We see a family who are playing ukulele’s, which could mean they find music interesting.

What is the context of the image? (year, country, political/economic climate).

I believe that the family have an interest in music and the father is probably the one who is into guitars, as we can see they’re different types of guitars hung up on the wall.

What is being communicated and how is it communicated?

There is a family who have a passion for stringed instruments as depicted by the guitars on the wall.

How does it make you feel? Is this intentional? Or does it make the image work better?

I feel relaxed as I really enjoy music myself and guitars have a soothing tone. The family smiling also contributes to me feeling happy as it has a feel good factor.

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KIRSTEN LEWIS

Who is the photographer?

The photographer is Kirsten Lewis. She is a family photojournalist based in Denver, Colorado.

How did they achieve the photograph? What camera techniques did they use?

They were at a high-angle view looking down at the trolley. They focused on the trolley so the foreground becomes less important as it’s blurred. 

What is being documented?

We see kids playing and being mischievous with the shopping trolley. 

What is the context of the image? (year, country, political/economic climate).

I think that they were messing about and the little girl is trying to get in the trolley, whilst the little boy is possibly pushing the trolley with his feet.

What is being communicated and how is it communicated?

It communicates the typical sibling rivalry. It could also communicate that the kids are bored and they don’t really like shopping so they are entertaining themselves.

How does it make you feel? Is this intentional? Or does it make the image work better?

I find the image humorous as it reminds me of when I was young and having those little petty fights with siblings.

How did they achieve the photograph? What camera techniques did they use?

They managed to get this photograph by using a 35mm monochrome film camera. They took a photograph of a mother and her two sons looking really happy and loved.

What is being documented?

We see a woman and possibly her two children. The little boy on the left is kissing the woman’s cheek and the little boy on the right is trying to put a hat on the woman.

What is the context of the image? (year, country, political/economic climate).

The context behind the image is family. It is portraying the love and affection they have for each other.

What is being communicated and how is it communicated?

I think love is being communicated between them all, they’re showing motherly love and that they are happy.

How does it make you feel? Is this intentional? Or does it make the image work better?

This makes me feel happy and joyousness. It reminds me of when I was young and being really happy and feeling loved.

7/02/19

[plutohou-blog]

ABOUT CONSTRUCTIVISM

WHAT IS CONSTRUCTIVISM???

Constructivism (Art) was an artistic and architectural philosophy that originated in Russia beginning in 1913 by Vladimir Tatlin. This was a rejection of the idea of autonomous art. He wanted 'to construct' art. The movement was in favor of art as a practice for social purposes. Constructivism had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance, fashion and to some extent music.

Constructivism Art

      It borrowed ideas from Cubism, Suprematism, and Futurism, but at its heart was an entirely new approach to making objects, one which sought to abolish the traditional artistic concern with composition, and replace it with 'construction.' Constructivism called for a careful technical analysis of modern materials, and it was hoped that this investigation would eventually yield ideas that could be put to use in mass production, serving the ends of a modern, Communist society.

Artists and designers inspired by public life during the civil war

                                             Beat the Whites with Red Wedge (1919), El Lissitzky

The Bolshevik army emblem, a red wedge, slashes diagonally into a white sphere signifying A. F. Kerensky’s “white” forces.

The slogan’s four words are placed to reinforce the dynamic movement.

                                             The Man with the Movie Camera. Film Poster (1929)                                                                                 Georgy and Vladimir Stenberg

Spatial dislocation is achieved by extreme perspective, circular type, and fragmented figure.

                                                                                                Battleship Potemkin                                                                                 Georgy and Vladimir Stenberg

Constructivism Architecture

                          Design for the Monument to the Third International (1919-1920)

Artist: Vladimir Tatlin

Artwork Description & Analysis: Monument to the Third International, also sometimes known simply as Tatlin's Tower, is the artist's most famous work, as well as the most important spur to the formation of the Constructivist movement. The Tower, which was never fully realized, was intended to act as a fully functional conference space and propaganda center for the Communist Third International, or Comintern. Its steel spiral frame was to stand at 1,300 feet, making it the tallest structure in the world at the time - taller, and more functional—and therefore more beautiful by Constructivist standards—than the Eiffel Tower. There were to be three glass units, a cube, cylinder, and cone, which would have different spaces for meetings, and these would rotate once per year, month, and day, respectively. For Tatlin, steel and glass were the essential materials of modern construction. They symbolized industry, technology and the machine age, and the constant motion of the geometrically shaped units embodied the dynamism of modernity. Although the tower was commissioned as a monument to revolution, and although it was given considerable prominence by the Bolshevik regime, it was never built, and it has continued to be an emblem of failed utopian aspirations for many generations of artists since.

Key Ideas

Constructivists proposed to replace art's traditional concern with composition with a focus on construction. Objects were to be created not in order to express beauty, or the artist's outlook, or to represent the world, but to carry out a fundamental analysis of the materials and forms of art, one which might lead to the design of functional objects. For many Constructivists, this entailed an ethic of "truth to materials," the belief that materials should be employed only in accordance with their capacities, and in such a way that demonstrated the uses to which they could be put.

Constructivist art often aimed to demonstrate how materials behaved - to ask, for instance, what different properties had materials such as wood, glass, and metal. The form an artwork would take would be dictated by its materials (not the other way around, as is the case in traditional art forms, in which the artist 'transforms' base materials into something very different and beautiful). For some, these inquiries were a means to an end, the goal being the translation of ideas and designs into mass production; for others, it was an end in itself, a new and archetypal modern style expressing the dynamism of modern life.

Constructivism Photography

      Constructivism refers to “a philosophical creed that people construct their own understanding of reality” (Oxford 1997). Constructivists agree that our constructive meaning is based on the appearance of reality and our own.

Constructivism photography (rather than drawn illustrations) and photomontage.

Constructivists are early developers of image montage technology.

A unique photographic style is promoted, involving jagged angles and contrasts, as well as abstract light usage, parallel to the works of LászlóMoholy-Nagy in Germany: Rodchenko, Boris Ignatovich and Max Penson. This also has much in common with the early documentary movements.

                                                                          London City Minimal Architecture

       Because of the broad influence of constructivism, the degree, direction, and source of the development in different fields are not the same, so divides them into four categories according to their research objects, the source of the subjects, and the different representations of the reality: Personal Constructivism, Social Constructivism, Actor-Network Theory (ANT), Metacriticism Constructivism.

Alexander Rodchenko

A Russian artist, sculptor, photographer, and graphic designer. He was one of the founders of constructivism and Russian design.

"We had visions of a new world, industry, technology, and science. We simultaneously invented and changed the world around us. We authored new notions of beauty and redefined art itself."

STYLE

       His photography was socially engaged, formally innovative, and opposed to a painterly aesthetic. Concerned with the need for analytical-documentary photo series, he often shot his subjects from odd angles—usually high above or down below—to shock the viewer and to postpone recognition. He wrote: "One has to take several different shots of a subject, from different points of view and in different situations, as if one examined it in the round rather than looked through the same key-hole again and again."

KEY IDEAS

       Constructivism encouraged a new focus on the tangible and material aspects of art, and its experimental spirit was encouraged by a belief that art had to match the revolutionary transformations then taking place in Russian politics and society.

       Their work not only introduced modern design into Russian advertising, but it attempted to sell the values of the Revolution along with the products being promoted. This particular union of modern design, politics, and commerce has occasionally inspired advertisers in the West since the fall of the Berlin Wall.

http://www.nailyaalexandergallery.com/russian-photography/c/1900s-1940s