Lydia Panas is an award-winning photographer whose work has been exhibited widely throughout the United States and abroad, and has won numerous awards. She was one of nine International Discoveries, Houston Fotofest in 2007. Her work is included in numerous collections, including Museum of Fine Arts, Houston, Brooklyn Museum, and Museum of Contemporary Photography, Chicago. Lydia has degrees from Boston College, the School of Visual Arts, New York University/International Center of Photography, as well as an Independent Study Fellowship from the Whitney Museum of American Art. Lydia has taught photography at a number of institutions, including The Museum of Modern Art, Lafayette, Muhlenberg and Moravian Colleges, Kutztown University, The Maine Media Workshops, The Vermont College MFA program, and the Baum School of Art/Lehigh Carbon Community College.
Frederic Weber lives and works in Nyack, New York. His photographs have been reproduced in publications including Art + Auction, Aperture, Flash Art, The New Yorker, The New York Times and more recently, The Unseen Eye: Photographs from the W.M. Hunt Collection (Aperture, 2011). Weber’s artworks are represented in several museum collections, including the Whitney Museum of American Art, the George Eastman House, Los Angeles County Museum of Art, Museum of Fine Arts Houston, as well as many private collections such as Manfried Heiting, Bill Hunt and Fred Bidwell.
Brian Finke’s work is included in several permanent collections including the Museum of Fine Arts, Houston, the Akron Art Museum, the Worcester Art Museum, the Saint Louis Art Museum, the Bibliotheque Nationale de France, and the Kiyosato Museum of Photographic Arts in Japan. He was nominated for the International Center for Photography’s Infinity Award in 2004 and won a prestigious New York Foundation for the Arts Fellowship the same year.
Some interesting articles and reviews from the past two months.
Observer: : The Month in Photography | The Observer New Review’s monthly guide to the 20 best photographic exhibitions and books
Sara Hussein: Tweeting from the front line (AFP blog)
Freelance photographer Phil Moore has been filing great work for AFP from Kivu region in Democratic Republic of Congo (I’ll share links to some of the work later this week)… Was fascinating to read about his experiences working in DRC on the AFP’s Correspondent blog…
Phil Moore: ‘I love you very much, that is why we are here’ | Phil Moore on working in DRC
Robert King on working in Syria…
Vice: The Man Who Was There | Robert King has been covering the FSA so long they named him ‘Haji Memphis’
Why we need war correspondents.
Terry Anderson: Running Toward Danger | ‘Why the world still needs war correspondents.’
New York Times: Using War as Cover to Target Journalists
WaPo and NYT public editors on ‘controversial’ Gaza photos…
Washington Post: Photo of dead baby in Gaza holds part of the ‘truth’
New York Times: Photo Caption Should Have Been Better. But ‘Orwellian’? No. | NYT’s Public Editor defends Tyler Hicks’s Gaza photo caption.
Not your average war correspondent… crazy story…
PDN: War Correspondence | ‘This month the Museum of Fine Arts, Houston (MFAH) will open an exhibition that promises to change the way photographs of war are seen, understood and written about.’
FT: War and Peace
Lightbox: War/Photography by Geoff Dyer
Lens blog: Coming to Terms With the Legacy of War | The Aftermath Project, Putting Together Its Fifth Book
Kenneth Jarecke: Instagram, the Devil, and You (photographer’s blog)
Kenneth Jarecke: Great Job, You’re Fired (photographer’s blog)
Jon Levy: Foto8 is Leaving Home
Five interesting articles from Guardian’s 80 page supplement ‘Photography Masterclass’ from a week or so ago…
Antonio Olmos: Street Photography (Guardian) ‘Trust your instincts, be brave and alert to every possibility and wear sensible shoes – all that pavement pounding will pay off eventually …’
Martin Argles: Photojournalism (Guardian) Even as technology advances, the role of the photojournalist will remain the same: to expand our awareness of the world
Suki Dhanda: Portrait photography (Guardian) |A powerful portrait must connect the viewer to the subject. Beyond technique and timing, observation and empathy are vita
Eamonn McCabe: Landscape photography (Guardian)| Good landscape photography does not require epic surroundings – beauty can be found on your doorstep if your eyes are open to it
Guardian: Photography: an ever-evolving art form | Our photography critic examines the changing landscape of a thriving medium
Business Insider: Photographers Will Soon Be The Most Valuable People In The News Room
Lens blog: An Inside View on Documentary Stories
David Campbell: Thinking Images v.25: The politics of the individual against the white backdrop (David Campbell’s blog)
Guardian: Magnum Revolution – review | ‘Magnum photographers provide a compelling visual record of violent uprising from Budapest 1956 to the Arab spring’
Evening Standard: Seduced by Art: Photography Past and Present
Guardian: Photography: is it art? | | ‘From the earliest days of photography, practitioners took their inspiration from paintings. But as a new exhibition at London’s National Gallery shows, the link went both ways’
Guardian: Light from the Middle East offers a true reflection of a complex region | ‘A new exhibition at London’s V&A offers insights from within cultures that are more often photographed and reported from the outside’
Guardian: Henri Cartier-Bresson: who can beat the master of monochrome? | ‘An exciting new London exhibition pits Henri Cartier-Bresson, famous for eschewing colour in his photography, against some of the best colour photographers of our time’
ADWeek: Time Moves to Responsive Design
Photo Brigade: Holiday Photo Gift Guide 2012
Visual Culture Blog: London Photography Map
Lens blog: An Outsider’s Life in Pictures and Boxes | The Still Unfolding Legend Vivian Maier
Lightbox: The Bechers on Display at Paris Photo
Telegraph: Portraits of a woman | ‘What makes a portrait of a woman unforgettable? We asked eight leading female photographers to identify their favourite.’
Matthew Gamber (b. 1977) holds a BFA from Bowling Green State University, and an MFA from the School of the Museum of Fine Arts / Tufts University. Recent exhibitions include: Second Nature: Abstract Photography Then and Now, deCordova Sculpture Park and Museum, Lincoln, MA, 2012 The 2012 deCordova Biennial, deCordova Sculpture Park and Museum, Lincoln, MA, 2012; Flash Forward 2011 Exhibition, Magenta Foundation, Toronto, CA, 2011; The Sum of All Colors, Sasha Wolf Gallery, New York, 2011. Awards include: Traveling Fellowship, School of the Museum of Fine Arts, Boston, 2011; Humble Art Foundation, New Photography Grant, 2011; Grant Recipient, LEF Foundation, New England (awarded for Big RED & Shiny), 2007 & 2005.
“War/Photography: Images of Armed Conflict and Its Aftermath,” is a huge, tough-minded and very moving new show at the Museum of Fine Arts, Houston. It lays out the ways cameras have been put to use during 165 years of world wars, undeclared hostilities and barely organized fang baring. Cameras turn out to be the transformer tools of warfare, adaptable as battlefield aids for reconnaissance and surveillance, as peerless instruments of propaganda and, above all, as a means to witness the atrocious facts of war. You may not be able to end war with a camera, but you can do a lot of useful things with one — even tell the truth.
Instead of being organized chronologically, the Houston show suggests that war is better considered as an eternally recurring narrative. It divides its story into chapters, from prewar buildup through postwar remembrances, with wars from all periods combined in each. The weaponry evolves from sabers to torpedoes to rocket-propelled grenades. (For the record, sharpened steel is forever.) The photo equipment changes from 19th century box cameras to cell phones and satellites. But the fundamentals of war — brutality and suffering, grief and self-sacrifice — don’t change much. They haven’t since the first time a caveman figured out how to use a rock.
The main problem for war photography today is image overload. The tidal wave of pictures all around us, with every cell phone adding to the deluge every day, threatens to make even atrocity photos into just more pictures, as morally weightless as the movie stills they so often resemble. For all that, the scores of unforgettable pictures in “War/Photography” make clear that even in a world that contains too many pictures, pictures of war, the best ones, still have the power to stir your emotions. They may not be able to compel any particular judgment about the wars they represent, but they can insist that attention must be paid. After that, if photos by themselves can’t stop war — and they can’t — then the fault is not in our pictures but in ourselves.
WAR/PHOTOGRAPHY: Images of Armed Conflict and Its Aftermath is on view at the Museum of Fine Arts, Houston until Feb. 3 and will then move to Los Angeles, Washington and Brooklyn.
Richard Lacayo is an art critic and editor-at-large at TIME.
Oleg lives with his family in Bryansk.
Jacqueline states: When I first saw Oleg’s work I was riveted by the strong connection that exists between him and the people he photographs. Like an August Sander, Oleg has been meticulously photographing his region, his town, his people and his neighbours. Young and old, men and women, jubilant and despondent, communities and outsiders… his work is very much local and documental. Yet it is the universal dimension and the emotional quality of his portraits that keeps me coming back to his images….
Sean Kelly, Art Basel Miami, Artist: Kehinde Wiley,
From the Art Fare series
Website – AndyFreeberg.com
Andy Freeberg was born in New York City where he learned at an early age to be a critical observer of the world and the people in it. He studied at the University of Michigan, began his career as a photojournalist and now concentrates primarily on fine art projects. Freeberg has recently emerged on the contemporary art scene as a wry commentator on the art industry itself. Long fascinated with the gallery and museum worlds, he often turns his camera on the dealers, gallery patrons, artists, museum guards, and their interplay with the works of art on view. His project Guardians, about the women that guard the art in Russian museums, won Photolucida’s Critical Mass book award and was published in 2010. The Guardians will be on view at the Cantor Museum at Stanford University through January 2013. His series, Art Fare, documenting another side of the art world, will open at Kopeikin Gallery in Los Angeles in September 2012. Freeberg’s work is in many public and private collections including the Museum of Fine Arts Boston, The Portland Art Museum, the George Eastman House, and the Museum of Fine Arts Houston.