Douglas Ljungkvist is originally from Goteborg Sweden. He is a self-taught photographer whose work examines places and environments, both public and private. After a long career in sales & marketing Douglas started photographing about eight years ago and full time for the past four. His work has been exhibited at the New York Photo Festival, Hereford Festival, London Street Photography Festival, Bridge Art Fair, and more. In 2011 he was awarded the gold prize at the Px3 Fine Art Book proposal category and participated at Review Santa Fe in 2010. His first monograph, Ocean Beach, will be published in the fall of 2013. He lives and works in Brooklyn, NY.
Sunburned GSP#576 (Annular Eclipse, Nevada), 2012.
Unique gelatin silver paper negative. 20 x 24 inches.
Chris McCaws new (and first) monograph, Sunburn, is perhaps my favorite photobook of 2012. It is generous in size, elegantly designed, beautifully printed and the images are truly awe-inspiring. squido lense .
See and read more.
Lee Grant is a documentary and portrait photographer who lives and works in Canberra. She is the founder and co-curator of Light Journeys as well as a founding editor of Timemachine Magazine. In 2010, Lee recently received a Master of Philosophy in Visual Arts from the Australian National University. That same year she was the recipient of the prestigious Bowness Photography prize. Lee has exhibited at the Australian Centre for Photography (Sydney), the Monash Gallery of Art (Melbourne) and the National Portrait Gallery (Canberra) amongst others. A selection of her work was recently published in the Big City Press monograph Hijacked Volume 2: Australia and Germany. Lee’s work is held in the National Library, the Canberra Museum and Art Gallery as well as numerous private collections and she has received grants from ArtsACT, CAPO/Singapore Airlines and the Australia Council.
The work of the photographic duo Bernd and Hilla Becher is indisputably some of the most important in modern photography. This week, a two-part exhibit at Paris Photo highlights the historical significance of the Bechers, most well known for their “typologies”—uniform, photographic studies of industrial structures such as water towers and blast furnaces.
The first part of the show, Bernd and Hilla Becher—Printed materials 1964-2012, features an extensive collection of rare ephemera related to the Bechers’ work. These objects, including posters, invitations and museum catalogues, were amassed by curator and book dealer Antoine de Beaupré for more than ten years.
“You get an historical overview,” said Beaupré. “and also an evolution of how their work developed over the years, especially in the beginning.”
One highlight of the collection is the magazine Anonyme Skulpturen which was printed in 1969 to accompany an exhibition of the Bechers’ work in Düsseldorf. This work would become a monograph of the same name, published in 1970, which is also featured in the Paris show.
The printed objects collected by Beupré represent the Bechers’ work from 1964 to 1977, while a presentation of their monographs, mounted under plexiglass and affixed to the gallery walls, span from 1970 to the present day.
The second section of the Paris show features a selection of 117 photographs chosen by Hilla Becher (Bernd Becher passed away in 2007) from the 1977 book Zeche Zollern II – Photographs of Bernd & Hilla Becher. Together, these prints, objects and publications are a comprehensive tribute to the Bechers’ long and prolific photographic career.
Antoine de Beaupré is a curator and the founder of the Librairie 213 in Paris.
Bernd and Hilla Becher—Printed materials 1964-2012 is on display at Paris Photo from Nov. 15 to 18.
Alain has won numerous awards and has exhibited his work across France. His first monograph, En attendant le facteur, (Waiting for the postman) is out now.
cultural heritage bring to your work?
singularity of my work is more the fact that I live in the countryside than the
fact that I am french.
childhood in which even an Argentinian or a Japanese can find himself. The
opposition to a urban lifestyle is to my mind stronger than the belonging to a
see between work created in Europe and in the States?
children when I take my pictures. Nudity is part of my work, but it is not its
main subject. This relation towards nudity is not the same in the US, it is
seemingly less natural.
photography in your country?
Living off in the
countryside, I realized that most of the activity and opportunities for a
photographer are in the capital: Paris is the
place to be.
subject. I just have to look at them, children are creative, you just
need to be there waiting for things to happen in the frame and “click”.
own environment, with their spontaneous behaviour is my favourite subject. My
photography is like a daily diary. If there is emotion in the
picture, that’s good, even if it is a bit blurred or poorly framed. For me, it
is not a problem.
things referring to ourselves. That is why family pictures are constantly
renewing themselves. Someone commented about my images that they are like
“street family” photography. I love “street” photography.
It is not something I can practice because I live in the countryside, but I
find my work quite close to that spirit there. There are similarities in the
raw side and spontaneous situations photographed. These are pieces of life that
transcribe a certain reality.
It is with great pleasure and excitement that I introduce Jacqueline Roberts as next week’s guest curator and writer. She will be sharing the work of six contemporary European photographers over the course of the week, exposing us to image makers an ocean away. Today I will be celebrating her wonderful work that beautifully explores children and childhood.
Triptychs is primarily a tribute to my children, all born on the same day, which consists of three triple triptychs. With this series of portraits I wanted to emphasise the connection between them, the fraternal bond, the communion almost, that exists between them. Three distinct individuals yet connected. It was relevant therefore to present the work as triptychs, for the religious connotations it confers to the images but also to embrace the symbolism of the number three in a wider cultural realm. Three represents the triad of family: male, female, and child; the triad of the cycle of life: birth, life, and death; the triad of time: past, present and future; the triad of human nature: mind, body and soul and the Holy Trinity: The Father, The Son and the Holy Spirit… like an allusion to the sacred status of the child in our contemporary western societies.
Jessica Todd Harper’s work has been internationally exhibited and discussed in publications ranging from The New Yorker to the Frankfurter Allgemeine Zeitung. Her first monograph, Interior Exposure, was selected by O, The Oprah Magazine as well as PDN as a top book recommendation, was shortlisted at the NY Photo Festival for Best Book and won a first place Lucie Award. She was a project winner at Center, Santa Fe and one of “PDN’s 30”. Editorial clients include New York Magazine, O, The Oprah Magazine, Real Simple, Die Zeit Literatur and Newsweek. Jessica has been invited to talk about her work at The International Center for Photography, NYC; Google Headquarters, Palo Alto, CA and Aperture Gallery, NYC. Harper has taught at both The ICP and Swarthmore College. Her next book is due out in Spring 2014 and will include writings by Alain de Botton and Alison Nordstrom. She lives and works in Philadelphia.
I first met Damion Berger a number of years ago at Review LA, hosted by Center. He was sharing his wonderful underwater images from his project, The Deep End. I was happy to learn that he now has a monograph of the work, published by Schilt Publishing and ready for purchase.
Damion was born in London and his interest in photography was nurtured while an assistant to the late Helmut Newton before earning his B.F.A. in photography from Parsons, The New School For Design in New York. He has exhibited with galleries in Europe, the U.S. and Canada. Damion was one of ten artists chosen for the ‘Discoveries’ exhibition at this year’s Fotofest 2012 Biennial in Houston. His work is held in many private collections and he is well published. Damion lives and works in New York and Southern France.
Deep End: This series of photographs makes use of the water’s capacity to at once de-contextualize the familiar and evoke a fusion of dreamlike memories and sense of childhood regression. The clear, warm water of the swimming pool represents an intersection between the cultural and social pursuit of leisure, the natural element of water and manmade space. The pool provides a place of temporary detachment from life’s everyday routine.
Smuggling an underwater camera into public swimming pools where photography is generally prohibited, for the most part I worked without the knowledge or complicity of my subjects. Whilst surreptitiously maneuvering underwater, I’d often hold my breath until near bursting-point, swimming for position and trying to hide my camera until the moment presented itself.
Seeking out public swimming pools predominantly on the Côte D’Azur and elsewhere around the Mediterranean, I was drawn to scenes of the unusual, frequently populated with energetic children less content to wallow on the surface than their more temperate elders. These photographs pay homage to the water’s almost magical qualities and re-establish a link to happy vignettes from my own memory – the blissful abandon of youth and the warm embrace of summertime’s past.