Tag Archives: Curation

TIME Picks the Top 10 Photos of 2012

Ten percent of all of the photographs made in the entire history of photography were made last year — an astounding figure. More than ever before, thanks in part to cell phone technology, the world is engaged with photography and communicating through pictures.

Nonetheless, a great photograph will rise above all the others. The ten photographs we present here are the pictures that moved us most in 2012. They all deliver a strong emotional impact — whether they show a child mourning his father who was killed by a sniper in Syria (slide #3); a heartbreaking scene in a Gaza City morgue (slide #1); a haunting landscape of New Jersey coastline after Hurricane Sandy, a rollercoaster submerged under the tide (slide #2); or a rare glimpse of President Obama moments before he goes out on stage during a campaign rally (slide #9). We spoke to each of the photographers about their images, and their words provide the captions here.

Over the past several days, we’ve unveiled TIME’s Best Photojournalism and Best Portraits of the Year galleries on LightBox. And in the next three weeks, we will be rolling out even more end-of-year features: the Most Surprising Pictures of the Year; the Best Photo Books of the Year; the Top 10 Photographic Magazine Covers of the Year and other compelling galleries. We will also recognize TIME’s choice for the Best Wire Photographer of the Year. Senior photo editor Phil Bicker is curating many of these galleries with help from the photo team at TIME. His discerning eye has been responsible for the curation of TIME’s Pictures of the Week throughout the year, galleries that regularly present the best of the week’s images, with surprising and sometimes offbeat takes on the news.  We will round off the year on December 31 with our second-annual “365: Year in Pictures,” a comprehensive look at the strongest picture of every day of 2012.

Kira Pollack, Director of Photography

Farewell 2011, hello 2012!

And so another year passes. We hope you have all had a happy, healthy holiday season and here’s to a prosperous 2012! As ever, thanks to everyone who has supported and worked with 1000 Wordsduring this past year. Here are some of our organisation’s highlights:

-the appointment of a board of directors who play an active role in the direction of the organisation. They are Camilla Gore, Nicholas Barker, Simon Baker, Aron Morel, Louise Clements, Tim Clark, Michael Grieve and Norman Clark


-the announcement that our sister-site, the 1000 Words blog, was named as the winner of Arts Media Contacts’ Photography Blog of The Year Award


-two 1000 Words Workshops with Anders Petersen and Erik Kessels that took place in the beautifully evocative medina of Fez, Morocco


-1000 Words editors, Tim Clark and Michael Grieve’s
participation in a panel discussion on “galleries” for photography with Linda Berlin and Toni Cederteg, Library Man; and Kristin Bråten, Director, Gallery Riis in association with Objectiv in Oslo, Norway

-curation of a slideshow featuring Anna Linderstram, JH Engström and Viviane Sassen at Łódź International Festival of Photography, Poland


-three issues of 1000 Words Photography Magazine, based around themes of Aporia, Hidden and Thereness, released in February, May and October respectively


-sponsoring The Salon Photo Prize 2011, in which thirty-five early-career photographers were exhibited at Matt Roberts Arts on Vyner Street, East London with one exhibitor, EJ Major, winning the selectors’ prize supported by 1000 Words consisting of £1000 and a subsequent solo exhibition


-Tim Clark, Editor in Chief at 1000 Words, joining the Academy of Nominators for the Deutsche Börse Photography Prize and also co-judging FreshFacedandWildEyed2011, the fourth annual competition for recent graduates organised by The Photographers’ Gallery, alongside Edmund Clark, Photographer; Louise Clements, Artistic Director, QUAD and Format International Photography Festival; and Brett Rogers, Director, The Photographers’ Gallery


The Ten: Rachel Barrett

Some weeks ago, I wrote a post on the difficulty of “affording success” in today’s economic climate. My point was that we work so hard to find that success only to have to turn down opportunities because of the high costs of producing, framing, and shipping photographs. The post had a tremendous response, and it began a dialogue with a number of gallerists and directors. One of those gallerists was Jennifer Schwartz, from the Jennifer Schwartz Gallery in Atlanta. Jennifer and I shared several e-mails and finally a long phone conversation where she explained that she had been having similar thoughts about the current gallery template and was working on a new program with a new approach to selling images. Needless to say, I am very excited to present her new venture, The Ten, and the first featured photographer, Rachel Barrett.

Jennifer’s mission with The Ten is to go beyond the traditional gallery model and explore the new contemporary photographic landscape to help artists move their careers forward and introduce their work to a larger audience. The Jennifer Schwartz Gallery wants to marry the opportunities for exposure online with the ability to acquire limited edition fine art photographs in order to help photographers reach a large audience and make money to finance the creation of future work.

The Ten is a highly curated monthly online exhibit of ten photographic images. Each image is available at a 13×19 size in an edition of 25 for $250. Whether a photographer makes a new body of work for The Ten, a guest curator selects images from different photographers, or a photographer self-curates from within his or her existing bodies of work, The Ten is an opportunity for photographers and curators to explore the creative possibilities of pulling together a selection of work with a strong statement and a tight edit.

The uniqueness of The Ten comes from its curation and its exclusivity. Images on The Ten cannot be sold in any other size in any other location. Once an image has been included in The Ten, it must be retired from sale. The only opportunity to purchase that image is on the website for The Ten, and once 25 are sold, it is sold out forever.

The Ten puts up a creative challenge to photographers and curators that we feel is important to keep the medium fresh and relevant.

The first Ten features the work of Rachel Barrett. Born in Cambridge, MA, Rachel moved to New York City to study at New York University and received her BFA in Photography & Imaging from The Tisch School of the Arts and her MFA in Photography, Video & Related Media from The School of Visual Arts in 2008. Rachel is currently an adjunct professor of photography at Kingsborough Community College and The College of Staten Island. A 2010-11 Tierney Fellow and 2011 PDNs 30, Barrett has received numerous other awards and honors for her personal work. She has shown nationally in both solo and group shows, including exhibitions at The Camera Club of New York, Clark | Oshin, Barbara Krakow Gallery, Sara Tecchia, The Minneapolis Center for Photography and The Center for Documentary Studies at Duke University. Her work has been published in The Sunday New York Times, Photo District News, Russian Esquire and Next American City Magazines and acquired into several private collections.

For The Ten, Rachel chose to curate a collection of images from within the larger body of work, Bolinas. This “story within a story” focuses on the Murch family and Gospel Flats Farms. The Gospel Flats farm stand welcomes visitors to Bolinas and sets the mood for the entire community.

Images from The Barrett Ten
Mickey’s Boat

As you enter Bolinas, a small, unincorporated community in Northern California, the Gospel Flats farm stand is the first to greet you. This mystical town with a rich cultural and agricultural history rests precariously on the edge of the Pacific, straddling two geographic plates. The way of life here – the cultivation of a shared existence and a near seamless relationship between humans and nature – has persisted for generations, with a particular flowering in the early 1970s after a collective effort to clean up an oil spill.

Sister’s Goodbye

That ecological disaster brought the people of Bolinas together and their desire to live an intrinsically shared existence with one another and closely to the land on their own terms is how they decided to stay. The mentality of perpetual exchange and engagement exists today among both the elder generation and among my peers for whom there is a resurgence of back-to-the-land ideologies.

Sunflowers, Upon Entering

The passing down of these traditions is embodied in many ways and especially in the Murch family of Gospel Flats Farm. Providing the community with bounties and arrays of vegetables, fruits, flowers and recently eggs, everyone who lives in Bolinas or is just passes through will stop there to pick up their daily nourishment. The stand is open 24 hrs a day and runs on the honor system: prices are marked and you leave what you owe in a jar. It is in every way a family business, tended and run today by Mickey, his wife Bronwen, Mickey’s cousin Sam and Bronwen’s sister Phoebe.

One Year Later

Mickey was born and raised on that very land, as was his father Don who ran it before him, and Don’s parents before him, and his own son Arlo, who will perhaps one day take on the role of running the place himself. As long as the cycle of life continues and the land there grows, so will the legacy of the Murch family and their farm. For it is the land, the near religious connection to it, the need to take responsibility for it and give back to it, which inspires the entire community to choose to create this path in life.

Sam

In the living room

Sam and Phoebe

Quilt of Love

Hanging to Dry

Arlo & Mickey

Downtown canon. Installation, performance and drawing in the Barbican gallery

An ambitious new Barbican exhibition opens today, writes John L. Walters. Entitled ‘Laurie Anderson, Trisha Brown, Gordon Matta-Clark: Pioneers of the Downtown Scene, New York 1970s’ it contains many big, bold examples of work from three artists who were near-contemporaries, and whose work crossed several disciplines (often out of poverty and / or sheer pragmatism).

BarbicanPoster001_4

Above: poster. Design by Fraser Muggeridge studio.

Their three artists’ early reputations were forged in the run-down and derelict industrial spaces of the near-bankrupt city – then more Taxi Driver than After Hours – and a decade before Laurie Anderson’s ‘O Superman’ became an unexpected pop hit.

Electric Chair

Anderson’s exhibits include an alarming, working version of The Electric Chair (above and top), a Talking Pillow and drawings of many other inventions (e.g., below). (See ‘All her own invention’ our interview with Anderson in Eye 76, the music design special issue.)

02A-tape-bow-sketch

The Gordon Matta-Clark exhibits include photographs, videos, collages and the upper four corners from his celebrated Splitting (1974, below).

2. Pioneers, Gordon Matta- Clark, Splitting

Trisha Brown, who attended yesterday’s media view, is represented by daily performances of her dance works, including Planes (1968) and Walking on the Wall (1971, below). In the upstairs galleries you can see Brown’s calligraphic drawings and diagrams: Lydia Yee’s curation links all three artists through drawing, friendship and food.

Trisha Brown

Special mention should go to the largely monochrome exhibition graphics by Fraser Muggeridge studio, whose design reflects the content by doing little that wasn’t technically possible in the 1970s. The designers sought ‘to create a “look and feel” that is appropriate to the artists and the time period of the work in the exhibition.’ [More images on the studio’s site, pleasedonotbend.co.uk.]

To this end, Muggeridge followed the usual Barbican guidelines, using Futura Bold Italic on a nine-degree slope, but set the type by cutting up letters from a copied specimen and then further copying and enlarging on an ancient photocopier that he found in a Dalston internet café. (Regular readers will be interested to learn that the studio’s similarly minimal catalogue design avoids what James Goggin, in his talk at The Form of the Book, called the ‘Matta-Clark complex’.) Muggeridge also made a huge billboard poster (below) which reproduces the foreground dancer at life size.

Barbican_billboard01_1

Above: photograph by Tim Wainwright.

Eye will be publishing a full review of this exhibition later on, but we recommend that you see it soon; it’s a show that exploits the gallery’s echoing spaces at their brutal best.

Laurie Anderson will be performing her Duets on Ice (below) tonight – for those lucky enough to have tickets.

02-duets-on-ice-in-italy

‘Laurie Anderson, Trisha Brown, Gordon Matta-Clark: Pioneers of the Downtown Scene, New York 1970s’, Barbican Gallery, Silk St, London. More information about opening and performance times from: barbican.org.uk/artgallery.

Read ‘Do it yourself’ Fraser Muggeridge’s recent article for Eye 78, one of sixteen ‘great moments in information design’.

Eye magazine is available from all good design bookshops and at the online Eye shop, where you can order subscriptions, single issues and back issues. Eye 76, out last summer (which includes our interview with Anderson), was a music design special – full contents here. You can also see a selection of visual details on Eye Before You Buy on Issuu.