Nº. 1 of  1

Art Photo Collector

Posts tagged magnum photos:

"Everything shifts as you move, and different things come into focus at different points of your life, and you try to articulate that."—Chris Steele-Perkins 

Few photographers understand their compatriots as well as British photographer, Chris Steele-Perkins. Born in Burma in 1947 to an English father and Burmese mother, two years later he moved with his family to England where he would grow up and later embark upon a career as a photojournalist. In 1979, at the age of 32, he joined Magnum Photos and his first book, The Teds, was published.

Teddy Boy culture developed in the London of the 1950’s. This new alchemy of teen culture fused Edwardian fashion, rock ‘n’ roll, drinking, dancing and, at times, collective violence into an original youth subculture. And like everything in Britain, social stratification and class played their customary roles. The Teds, for their part, were decidedly working class.

While Chris Steele-Perkins has enjoyed a long, storied career as a social documentary photographer covering a wide variety of issues, “The Teds” is something special. I pulled the book off my shelf yesterday, and as I smiled poring over the stories and images, I was reminded again why, thirty-four years later, “The Teds” remains a classic. —Lane Nevares

“When you set up pictures, you’re not at any risk. Reality involves chance and risk and diving for pearls.”—Nan Goldin

Fifty years ago, during a tumultuous 1963, Constantine Manos joined Magnum Photos. Reared in South Carolina to Greek immigrant parents, he has for over 60 years taken photographs that are about light, shadow and what can be revealed in a moment. His pioneering work in color, and recognized expertise with a Leica, still capture our attention.

The Museum of Art Ft. Lauderdale’s latest show, Florida Color, mines work from Manos’s “American Color” series. While this work has already received wide acclaim, I wonder what Floridians make of seeing images of their compatriots inside a museum. Are they a mirror or a window? —Lane Nevares

“We are drowning in images. Photography is used as a propaganda tool, which serves to sell products and ideas. I use the same approach to show aspects to reality.” —Martin Parr 

Just in time for summer, the noted British, Magnum photographer, Martin Parr’s, latest exhibit, Life’s a Beach, opens tomorrow at Aperture Gallery here in NYC. Mr. Parr, who enjoys immense popularity and recognition, has done much for Photography. In addition to his signature work, he’s a lecturer, collector, filmmaker, and all around disciple for the medium.

Parr’s work has always had its detractors asking whether he is taking the piss and exploiting the public for his own amusement and needs, or whether he is a serious artist revealing ourselves through color, composition and fill flash. Like most things, I think the truth lies somewhere in between. Martin Parr is doing things his own way.

“Life’s a Beach” is a color parade around the world. Parr’s keen interest in beaches (although not a sun bunny himself) and people takes us from the shores of India to Latvia to Thailand to Mexico and onwards, transforming banal scenes into ironic, humorous, curious and sometimes dispiriting riffs on people at the beach. It’s all classic Martin Parr.

In addition to the show, which will be a crowd-pleaser, there’s also a new mini-edition of the monograph available, as well as a video of Parr presenting the book. All great stuff. Martin Parr once signed my notebook not with his name alone, but rather inscribing,”Martin Parr was here.” Indeed, the same holds true for his images. —Lane Nevares 

"One often wrongfully compares photographs to paintings. This is nonsense. The image does not refer to painting but to something alive through which passes silence…"—Lise Sarfati 

Tomorrow night, Lise Sarfati’s latest exhibition, On Hollywood, opens at Yossi Milo Gallery here in New York. Sarfati, already well known as a Magnum Photographer, chose, unconventionally, to use Kodachrome 64 transparency film to create this latest series. Kodachrome 64 film stock was originally used in the early Hollywood films of the 1940’s and there is only one lab left in the States where it can be developed.

Sarfati’s decision to use this type of film is significant. For a photographer not to have immediate feedback (on a digital display screen) of their work, means that they’re trusting their instincts, never knowing until much later whether they have captured the image they sought. It also means that our eyes see colors and light through a medium that is no longer readily available. And for Sarfati, it references the old glamour of Hollywood alongside the reality of life for these women in today’s Hollywood.

I am curious what others think of this work. I have always found that Sarfati’s European background strongly informs how she sees American culture. Her point-of-view is distinct. While I find references to other great photographers in her work, there is no doubt that the alchemy she creates between photographer and subject is compelling.—Lane Nevares 

"The camera is in itself a frontier, a barrier of sorts that one is constantly breaking down so as to get closer to the subject…" — Martine Franck

Martine Franck has been a member of Magnum Photos since 1983, and before that a member of two other photo agencies. In a world dominated by men, she has long distinguished herself as a photographer of grace and elegance. I have always admired her work for its sophisticated compositions and defining moments of beauty. Many of her images are iconic and familiar, even to those who are unsure of the photographer.

The Howard Greenberg Gallery in New York is currently exhibiting her work, “Martine Franck: Peregrinations,” until early August. This is an excellent opportunity to see some of these amazing prints first-hand and to reconsider Franck’s pioneering role in Photography’s history. Her work has influenced many. For those who would like to know her better, this Magnum-produced video of Franck discussing her life and her work is not to be missed. —Lane Nevares