Showing posts with label portraits. Show all posts
Showing posts with label portraits. Show all posts

Sunday, 8 June 2014

CULTURE & ENTERTAINMENT



Dmytro Verholjak; Markova village, Ivano-Frankivs’k region, Ukraine. Via The New Yorker.

Faces of the Second World War. In 2010, while visiting Russia for an exhibition of his work, the photographer Sasha Maslov took the first portrait for what became his current project, “Veterans.” The portrait is of Piotr Dmitrievych Koshkin, a Red Army plane mechanic who served in the Second World War. Inspired, Maslov began a four-year project photographing and interviewing people who lived through the war. His subjects include not only soldiers but also medics, engineers, partisans, members of various resistance movements, prisoners of war, Holocaust survivors, and civilians who suffered as a result of the conflict. All of these people, Maslov told me, were those “who experienced the war in a dramatic way, in their own skin.”Read full article and have a look at the photos in The New Yorker. E.T.P. 6'




"In a campaign that's new to us but appears to have been running for a while now, Y&R Paris has created a series of ads for eyewear retailer KelOptic showing impressionist paintings brought into focus. The tagline is "Turning impressionism into hyperrealism." Another case of advertising sullying some of mankind's greatest artistry? Sure. But also pretty awesome." Have a look in AdWeek. E.T.P 3'

Sunday, 3 November 2013

PHOTOAUTOMAT




Marcel Duchamp, New York, 1948. The Morgan Library & Museum; 
Gift of Irving Penn; 2007.14.


 Georgia O'Keeffe, New York, 1948. The Morgan Library & Museum; Purchased as the gift of Richard L. Menschel
and with the support of The Horace W. Goldsmith Fund for Americana and The Margaret T. Morris Fund; 2007.67,



Marlene Dietrich, December 23, 1948. Courtesy of The Irving Penn Foundation.

 Igor Stravinsky, New York, April 22, 1948. Courtesy of The Irving Penn Foundation.
Joe Louis, New York, February 15, 1948. Courtesy of The Irving Penn Foundation.

Truman Capote (1948) by Irving Penn. © The Irving Penn Foundation. Exhibiting at Pace MacGill in The Art Show



Irving Penn - Portraits

1917 - 2009

Whenever I think of the name Irving Penn, old school fashion photography and Vogue comes to my mind. Nevertheless his legacy covers much more than that; from the numerous and also famous portraits, nudes, ethnographic studies, to his series of Still Live.

I want to focus on the "Portraits in a corner: 1948" that he created in the 90˚ intersection of two walls where the subjects had to place themselves. In a quote that I found on the web about this series, Penn says that the result of this peculiar placement was a very rich series of pictures. "This confinement, surprisingly seemed to comfort people, soothing them. The walls were a surface to lean or to push against. For me the picture possibilities were interesting: limiting the subjects' movement seemed to relieve me of part of the problem of holding on to them."

When I first saw these photos I wasn't really sure they all looked "soothing" but if you've ever been in front of a camera for a portrait session, you'll know that it could be an extremely awkward experience, so maybe you'll may find a small corner where you can get a "hug", friendlier than a large empty space.

One of the things I love more about this series, worth paying close attention, is the way people place themselves on the space, and what does that says about who they are, and how they felt. Alexander Lieberman, Editorial Director of Conde Nast Publications 1962-1994 and former employer of Penn labeled this series of portraits as "existencial images . . . in harmony with the tormenting isolation of [Samuel] Beckett." 
You can read more in Vicky Goldberg's article for The New Yorker Penn is difficult: 'Can't You Tell?'

And you want more info about Irving Penn visit these:



-

The Photo section is curated by the Brooklyn-based photographer Andreína Restrepo.