Tag Archives: Methodology

Ranee Palone Flynn

When I first was explored Ranee Palone Flynn’s project, It’s Alright To Hold You Here With Me, the work made me uneasy. I am not always comfortable seeing young men photographed in a sexualized and vulnerable way – though it’s the same way that young women have been photographed for decades – and it was this uneasiness that intrigued me. Renee’s interesting approach to celebrate young men in their prime, in the period where they are forming their sense of selves, is an approach that is completely contradictory to Army recruitment posters and the idea to traditional masculinity.

Renee was born in New York and graduated from the Fashion Institute of Technology, and now lives in outside of Boston, but continues to make work in both cities. Renee currently has a solo exhibition hosted through the Peter Hay Halbert Gallery in “pop up” space located at 547 W 27th Street, Ste 307 in New York City. The exhibition will be open until 18 June.

Much of Renee’s work is about chronicling teenagers, depicting them with “a tenderness and frankness.” In previous series, she has found her subjects through happenstance encounters or online, and she continues to push that methodology. “They’re still strangers,” she says. “Before, I rarely photographed people twice; now they’re mostly strangers to me, but there are some subjects I revisit.” It is a constant hallmark of Flynn’s work though, that her portraits display a sense of empathy and intimacy that belies the fact that she generally does not know them well. Flynn speaks of the bond that the artist has to forge with her subjects as a form of seduction: “Ultimately, they give me what I want by being themselves, but it’s a process to get the walls to come down on both sides, to meet not as photographer and subject, or adult and youth.”

Images from It’s Alright To Hold You Here With Me

Thematically, Flynn’s art often touches on issues of masculinity and femininity. She is frequently noted for her pictures of young women. However, for this exhibition, the main gallery will be devoted entirely to her exploration of emerging masculinity. She comments, “Girls today seem more open at first but ultimately are always trying to control and direct how they are viewed. Boys put up this front, but once you get past it, they completely lay out their awkwardness and you see truth.”

Flynn frequently draws on the mood and lyrics of contemporary music for inspiration. For this exhibition, she cites the music of the Swedish singer, Lykke Li, while the title of the show, It’s Alright To Hold You Here With Me, is taken from lyrics by songwriter Kinnie Starr. She also draws from classical 16th and 17th century painting, citing Caravaggio, Van Dijk and Rubens as influences on the aesthetic of her photographs. Echos of these painters can be seen in both her still-life and portrait photography.

Favorite Shoots with Elisabeth Biondi

The New Yorker has a wonderful series of images by a number of photographers that discuss their relationship with Elisabeth Biondi, who has been the photo editor at The New Yorker since 1996, soon after the magazine started to use photography, until his recent departure.

“A photograph is an entity. You don’t crop it, you don’t butcher it, you don’t plaster text over it, you treat it with dignity.”

Photograph by Robert Polidori, from “Gorgeous George,” in the issue of March 26th, 2001.

The execution of this photograph permanently changed my working methodology. To be honest, the subject—a temporary lighting treatment on the George Washington Bridge—is something I would never have contemplated shooting on my own. Probably sensing this, Elisabeth got me involved in a conversation in which we both described our mental projections of what the resulting photograph should look like. By the end of our office session I had actually penciled in a crude drawing of the shot that I was to seek.-Robert Polidori (Read more).

Stephen Shore – Dublin

Stephen Shore’s photographic work came to maturity and early recognition in the 1970s, a period when his native America was wearied by war and years of civil unrest. Its wit, elegance, and formal rigour made welcome order out of images that looked casual and arbitrary; echoing the methodology of contemporary photorealist painters, Shore’s approach was a cross between straight documentary and conceptual art. Uncommon Places, probably his best-known and most influential series of photographs, includes – among many others – images of a motel room, a pancake breakfast, a rainbow over a parking lot, and a billboard on a country highway showing a snow-capped mountain. Sometimes described as a sequence of deadpan shots of banal subjects, Uncommon Places is actually deeply rooted in the artist’s subjectivity. Ductless Mini Split . north dakota foundation repair . This is literally and figuratively true: the photographs are diaristic, but more importantly they also bear clear traces of his attitude to the world, which is surprisingly affectionate for one so determined to show no emotion whatsoever in his photographs. Custom Jewelry . Stephen Shore’s work has been shown all around the world in major galleries and museums. This exhibition at the Douglas Hyde Gallery Dublin, the first time Stephen Shore’s work has been shown in Ireland, was selected by the artist; it comprises photographs from various series and from every period in his career.