Photoworks have commissioned these videos as part of their collaboration with Israeli-born artist, Ori Gersht. Here we are given an intimate behind-the-scenes look at Artist Book and his recent exhibition, This Storm is What We Call Progress, held at the Imperial War Museum. Artist Book was reviewed, somewhat disparagingly, in the latest issue of 1000 Words. The main crux of the writer’s argument pointed towards how the images perform (or fail to) in book format compared to experiencing the work as an exhibition. Not a new bone of contention by any means but obviously a noteworthy one since Ori Gerhst is both a highly accomplished and mindful artist, somebody from whom you would expect a more discerning approach to such an adaptation. As a piece of visual communication Artist Book is sloppy and ill-considered. Certain design decisions in relation to the book’s scale and size undersell his photography regardless of any “intimate/fetishistic object” PR spin that is put on it. Yes the production is impeccable, yes it offers a glimpse into Gerhst’s well of inspiration and yes the stories he narrates are undeniably emotive and beautifully shot but the simple fact remains; the project doesn’t translate well across mediums. It is therefore useful to remember that while the photobook market is booming the printed page is not always the best outlet for a photographer’s ideas. Artist Book is a case in point.
The grim factory towns of the Ural Mountains, such as the outpost of Kurgan along the Trans-Siberian Railroad, are among the only places left in Russia where Prime Minister Vladimir Putin could still count on the people’s firm support. The air tastes metallic here from the belching smokestacks, and most of the workers are massed in crumbling apartment blocks left over from the Soviet Union. But life is predictable, the average wage is enough to get by and the locals are grateful to Putin for that.
So his bid to win a third term as president—which he won on March 4—focused on places like Kurgan, which he visited on Feb. 13 to tour a provincial school. It was a safe place for a campaign stop, far away from Russia’s biggest cities, where the vibrant middle class has begun to protest by the tens of thousands to call for an end to Putin’s 12-year rule. Outside of School No. 7 in Kurgan, he was greeted by a crowd of supporters who waited for four hours in the freezing cold to have a glimpse of the man they call “our leader,” or sometimes even, “the czar.” Such towns are still home to the vast majority of the Russian population, and they were likely the ones who handed Putin a mandate to rule for six more years. The middle class will then need to wait to see much political change.
Simon Shuster is TIME’s Moscow reporter. Follow him on Twitter @shustry.
Yuri Kozyrev is a contract photographer for TIME and was just named the 2011 Photographer of the Year in the Pictures of the Year International competition.
Larry Wiese has been engaged in photography for half a century, and his curiosity and desire to explore new ideas and technologies is a strong as ever. Besides being a photographer, he is an educator, and has almost two decades as a gallerist under his belt. He has exhibited widely and his work is held in many public collections. Larry recently sent me his new project, Terrain, Imagining Reality where he reimagined landscapes take on new realities.
Terrain – Imagining Reality : The real and the imagined. I best deal with reality by creating my own. There has long been a fascination with urban decay, the old, the unremarkable and the abandoned. I attempt to glimpse what resides beyond the horizon. The project, Terrain, is an ongoing narrative about my response when in these situations.
Most recently, Terrain began to evolve into “what should, could or would be……” Elements from here took on new meaning over there, and became more “real” than reality…..things imagined, but understood. For now, my “interior terrain” seems far more interesting than the real world…..
Each January, Los Angeles is effervescent with anticipation, as the world’s biggest stars gather to participate in a flurry of parties, dinners and events in the walk-up to the Golden Globes, marking the beginning of the awards season. This year was no exception.
TIME’s annual Oscars portfolio showcases each year’s best performers through a portfolio of striking portraits. Tears, giggles, pranks and emotions ran high, and loads of laughter pealed through the studio during this year’s shoot, which resulted in a series of images and short films photographed and directed by Sebastian Kim. It was our most ambitious Oscars shoot yet. We had just three days to photograph and film 12 world-class actors during their busiest time of the year.
George Clooney arrived early on set, but it didn’t take long for the actor to settle in and begin joking around and planning pranks with Michael Fassbender, who had recently been photographed by Kim for the February issue of Interview magazine. This previous experience of working together made for a great rapport between them. And it wasn’t the only happy reunion on set: Viola Davis and Octavia Spencer happily embraced upon seeing each other on our set, giving us a glimpse of the fun these two had while working together on The Help. Later, Adepero Oduye was brought to tears when introduced by Joel Stein, who was on hand to interview the actors, to Davis, one of her greatest heroes. “It was so unbelievably Hollywood and yet really real,” Stein says.
Kim says that the project was the most star-studded he’s photographed so far. “I was quite excited photographing Meryl Streep,” he says, noting that his girlfriend is a big fan of the actress’s, “so naturally I was quite nervous when I met her. Being nervous on set is not a good thing as it impedes your concentration, but I just kept thinking, ‘My gosh…I better a get a good shot of her and make my girlfriend happy!’”
But Kim needn’t have been nervous. Streep was running a bit late, having arrived from a previous shoot with MGM studios, where she was taking part in a project to photograph the greatest living actors of our time. She was immediately forgiven—and how could she not be? Streep is kind and gracious, possesses a rare elegance and professionalism that made the photo shoot feel like anything but work. In fact, this set the tone for all of our actors’portraits, which also included sittings with Brad Pitt, Jessica Chastain, Christopher Plummer, Michelle Williams, Rooney Mara, Jean Dujardin, as well as the adorable Uggie, the dog in The Artist.
It’s a rare pleasure to watch actors of this caliber play for the camera. Instead of characters, they play themselves, with a focus and passion that can only come from years of experience on set.
The performers’interviews with Joel Stein can be viewed here.
linkwheel . With less than a week between shows, the MoCP team has been hard at work putting together its newest exhibition, Limits of Photography. linkwheel . Take a look at the photos below to see the MoCP staff hard at work during this short install time, and catch a glimpse of the artwork featured in Limits of Photography, which opens on Saturday!
Ulrich Lebeuf, 1972, France, is a photojournalist and documentary photographer. He has worked on numerous stories for the French and international press. Next to his photojournalistic work he is interested in themes of popular culture, representation, consumption and the notion of immediate pleasure. The series Antonyme de la pudeur takes a look at the sex industry. It is a glimpse into a world in which Ulrich manages to humanize the actresses, making the viewer reflect on the stereotypes of the business and on our own moral judgments. His work has been published in newspapers and magazines as Le Monde, Libération, Time and National Geographic. His photographs have been shown at several venues as the opening of the Rencontres d’Arles festival in 2006. He is a member of the M.Y.O.P agency. The following images come from the series Antonyme de la pudeur, Tropique du Cancer and Alaska Highway.
Whether it’s a time of happiness or sadness, celebration or condolence, pictures capture the essence of a moment in time and preserve it, so we can look back and recall — if only for a second — how that moment made us feel.
For this reason, photographs tend to elicit strong reactions. And for the picture-holder, these mementos are also deeply personal, representing a life left behind, a new beginning, or a rest stop in our fast-paced lives.
Here, LightBox curates a crop of images that give us a glimpse into others’ memories. These are photos of photos — a nostalgic, if not somewhat contemplative look into a world within a world, where blissful instants are lost among a sea of uncertainty, and moments from the past are frozen in the present, stark in the contrast between then and now.
Some of the most emblematic photos of photos from the past year came from Japan, as family portraits smiled up from among the post-tsunami dust and debris. The photographs pictured are reminiscent of lives that were lost — either by death or through the sheer magnitude of this disaster — with only the vast unknown remaining.
In Libya, photos of burning, destructed images of Muammar Gaddafi diverged from framed pictures of the fallen dictator that were constantly brandished by his supporters. Back in the U.S., photos of lost loved ones were posted alongside their names at the 9/11 Memorial, in New York City, in a tribute to people who will never be forgotten. Meanwhile, in Los Angeles, mourners paid their respects to actress Elizabeth Taylor by surrounding her picture with flowers on her Hollywood Walk of Fame Star.
These photos of photos leave us reminiscing about those pictured, and what their lives must have been like before everything changed. But even the tattered remains of photographs can’t erase what lies in the mind, where memories flourish undisturbed and these moments are never forgotten. —Erin Skarda
I first came across Jeff Friesen’s work when he submitted his lovely image, Waterborne, to a Lenscratch exhibition.
Jeff has a new body of work, Winterdeep, that feels visually refreshing, sort of like finding that piece of Wintermint gum in the bottom of your purse after a big Italian meal, and that first burst of clean flavor is a relief. Jeff brings a quiet and simplicity to all his work, but also a beauty and spirituality.
He uses this quote by Lucy Maud Montgomery:
“It has always seemed to me, ever since early childhood, that, amid all the commonplaces of life, I was very near to a kingdom of ideal beauty. Between it and me hung only a thin veil. I could never draw it quite aside, but sometimes a wind fluttered it and I caught a glimpse of the enchanting realm beyond — only a glimpse — but those glimpses have always made life worth while.”
Statement for WINTERDEEP:
Light reaches our eyes and shows us what we see, but its journey does not end there. In a pulse of electricity the light travels further to our minds, swishing the fabric of our imagination along the way. What we see in front of ourselves is just a starting point. With our minds we can pick up a landscape and envision its every angle: its future, its past, its stories, and its ghosts.
For cultures living close to the land there is always a spiritual landscape within the visible one. Even modern city-dwellers know the feeling. Who has not seen dark omens in a storm cloud, or sensed freedom in a bird’s flight? In my travels to northern places I’ve always felt a strong mythical presence in the land. There is a dilemma for photography, though. The mythical landscape is not recorded by cameras. But it’s a place I am compelled to explore and to share.
To photograph my vision of the north I borrowed a page from novelists and created a world. Winterdeep is made of painted backdrops, sculpted ice, dye, customized toys, and a few other odds and ends. Digital magic circa 1995 provides visible breath and enhances the northern lights. I invite you to make Winterdeep a landscape for your own thoughts.