Guy Bourdin

1928-1991

For Lindsey










Guy Bourdin on Artnet

Family Photographs

Larry Sultan

We are Family on the bbc: 

Untitled (from “Family Photos, 1984-1992″)
© Doug Dubois

website at : http://www.dougdubois.com

For Ali: Sympathy for the Devil: Art and Rock and Roll Since 1967

Slater Bradley

The Year of the Doppelganger, 2004

The Musée is literally electrified this fall by the exhibition Sympathy for the Devil: Art and Rock and Roll Since 1967.

Organized by Chicago’s Museum of Contemporary Art, Sympathy for the Devil examines the history of the relationship between avant-garde art and rock music over the past forty years. From Andy Warhol’s legendary involvement with The Velvet Underground in New York in 1967 to the dazzling 2007 installation Pinball Wizard and The Byrds (Love in a Void) by British artist Jim Lambie, Sympathy for the Devil is the most comprehensive presentation ever—including artworks, album cover design, music videos and other materials—of work that has emerged from the intersection of these two cultures. The title is taken from the eponymous Rolling Stones song.

The exhibition comprises over 100 works (installations, sculptures, paintings, drawings, videos, photographs) produced by sixty artists and collectives, subdivided into six themes corresponding to the music scenes in New York, the U.K., continental Europe, the West Coast (particularly Los Angeles), the U.S. Midwest and the rest of the world.

Music Binds Us All

More On Sympathy for the Devil: Art and Rock and Roll Since 1967

Not unlike blues legend Robert Johnson, considered by many to be the granddaddy of rock and roll, Dominic Molon must have found himself tempted by a Faustian deal.

Five years ago, the curator was at the crossroads between rockers and artists, confronting the daunting task of exploring the deep-rooted and primal alliances between rebellious spirits haunting both the sonic and visual realms.


Ryan McGinley
Untitled (Morrissey 1)

In his artist statement, Ryan McGinley writes, “The idea behind this series was to capture the feeling from the perspective of a fan attending a Morrissey concert. The great thing about shooting him is that he’s so active. He knows about the drama and opera of performance. . . . All of my work is people performing or being active in front of the camera, so taking pictures of Morrissey made perfect sense.”

As in other series about youth culture that he has completed, McGinley is both an observer and a participant at these concerts. In crafting the final prints, he experiments with size, exposure, and tonality to fashion images that convey the exhilaration and beauty of a captivated audience. In 2007 the International Center of Photography awarded McGinley the prestigious Infinity Award for a young photographer. For the past decade, he has been a regular contributor to a variety of magazines, including Vice, Index, and the New York Times Magazine.

• Untitled (Morrissey 1) / Ryan McGinley 2004–6 / Chromogenic print / Ann and Mel Schaffer Family Collection / © Ryan McGinley

Untitled (Morrissey 25)
Ryan McGinley
Chromogenic print, 2006
Published in UOVO, April/June 2007
Seth O. and Mandy W. Lax
© Ryan McGinley

Artist Statement: Ryan McGinley

I didn't really get into music until I was sixteen. My friend has a brother who was one or two grades ahead of us who listened to Morrissey. We all wore Doc Martens and big army coats and sat in his basement listening to it. I couldn’t believe how someone so far away could speak so directly to me. How could he speak so simply, addressing so many of the issues I was dealing with. He’s having a laugh and, at the same time, he’s being deadly serious. He has a way of saying exactly what I need to hear. These are my songs just like they are everyone else's, but they are still mine.

The idea behind this series was to capture the feeling from the perspective of a fan attending a Morrissey concert. The great thing about shooting him is that he’s so active. He knows about the drama and opera of performance. He invented those classic Smiths moves, whipping around his microphone cord, shaking his hips, and throwing his wrists back and forth in the air. All of my work is people performing or being active in front of the camera, so taking pictures of Morrissey made perfect sense. Photographing the concerts is my way of expressing my appreciation to him.

3 photos selected from current exhibitions

George Strock
[Satchel Paige waiting for pool hall adversary, Harlem, New York], 1941
© 1941 Time Inc. Used by permission.
International Center of Photography, The LIFE Magazine Collection

This Is Not a Fashion Photograph
at ICP
1133 Avenue of the Americas at 43rd Street, New York, NY 10036
January 16 - May 3, 2009

I selected this photograph because of the camera angle, the historical significance and because Satchel Paige is looking directly at George Strock or ME!




HIROSHI SUGIMOTO Ionian Sea, Santa Cesarea, 1990 Gelatin silver print 60 x 71 3/4 inches framed (152.4 x 182.2 cm) Ed. of 5

Hiroshi Sugimoto

7 Days / 7 Nights
November 6, 2008 - March 7, 2009

I selected the Sugimoto image because it is calm and I would like to know more about Sugimoto's work.





ANDY WARHOL
© Ugo Mulas Estate. All rights reserved

WARHOL FROM THE SONNABEND COLLECTION

January 20 - February 28, 2009

Gagosian Gallery
980 Madison Avenue
New York, NY 10075
Tel 212.744.2313 Fax 212.772.7962
Tue-Sat 10-6

I selected this photograph because of its historic significance and the camera angle and because of my interest in Andy Warhol for my video project.

Photo Blog Example: my three photos

I chose this photograph because it reminds me that the sheep can be witness to my human folly.


I like this photo because it makes me think about the quiet of early morning in the mountains.



This image is about my relationship to recent historical events.

Street and Studio: an urban history of photography

I found an image that reminded me of Melanni's interactive Photo Project and as I linked to the website for the Museum Folkwang, I realised it was in German, so I translated it and copied the entire page here:

	The exhibition Street & Studio. An urban history of photography presented with approximately 300 exhibits from the 19th and 20 First century, the fascinating story of two central places of production of the photographic medium. It was created in cooperation with the Tate Modern, London. Through the work of Diane Arbus, Cecil Beaton, Brassai, Walker Evans, Helen Levitt, Robert Mapplethorpe, Irving Penn, Cindy Sherman, Malick Sidibé, Juergen Teller, Wolfgang Tillmans, Weegee and others establishes the dynamic interactions exhibition of photographic practice on the road and in the studio open. Since the beginning of the 20th Century photography shapes the picture of the emerging western metropolises with their different backgrounds. Street & Studio displays different genres and ways of working, which is due to host its geographic situation, until today have developed and developing photography as a medium of the city. Philip Kwame Apagya Francis in Manhattan 1996 (c) Philip Apagya / Courtesy Fifty One Fine Art Photography, Antwerp The studio photography features in the late 19th Century often formalized and standardized production of portraits. Photographers searched ambitious in the unity of the studio on your ideas such portrait to "construct", both with experimental techniques as well as in presentation emphasizes abbildungshaften ways. In the 1920s and 1930s, these techniques of staging in the flourishing portraits and fashion studios further refined. The use of unusual props and backgrounds is still part of the studio culture, like the contemporary self-portraits of Samuel Fosso, the large pictures by Adrian Paci and order photographs by Lee Sang To show. James Van Der Zee American Legioneer, District of Columbia 1937 Photographic Collection, Museum Folkwang, Essen (c) Estate of the Artist With the development of small and easily hidden cameras around the turn of the century, the road developed into an important ground for the photography. It was possible, people in unexpected, momenthaften and even intimate moments to photograph. The street extended the studio and invited to new visual adventures and exploration of everyday life, such as Jacques-Henri Lartigue's snapshots in the Bois de Boulogne in Paris, Walker Evans portraits of anonymous passers in New York or the contemporary portraits of Valérie Jouve. Photo Booth, Photomaton German Women 1928-45 (c) Photographic Collection, Museum Folkwang, Essen With the development of small and easily hidden cameras around the turn of the century, the road developed into an important ground for the photography. It was possible, people in unexpected, momenthaften and even intimate moments to photograph. The street extended the studio and invited to new visual adventures and exploration of everyday life, such as Jacques-Henri Lartigue's snapshots in the Bois de Boulogne in Paris, Walker Evans portraits of anonymous passers in New York or the contemporary portraits of Valérie Jouve. Roads and studio photography have their own stories and developed methods of illustration. The exhibition at the Museum Folkwang allows a simultaneous look at the two sites of photography and shows cross-border issues and working methods. The highly staged photographs by Robert Doisneau or fashion photographers of the 1950s such as William Klein, show how the road to the stage was. Helmar Lerskis series heads of everyday life and Andreas Serranos portraits of homeless people show how the photography studio in time to the street opened, and often took their momentum. In the center of the exhibition is the question of how the photograph the image of the modern metropolis with their different social milieu has influenced. Graphically, this dimension of the exhibited books and magazines, which illustrate how the worlds of stars and celebrities and the world of everyday life, the ideal of studios and the realism of the street gradually merge. Pieter Hugo Abdullahi Mohammed with Mainasara, Lagos, Nigeria 2007 Courtesy Gallery Bertrand & Gruner (c) Pieter Hugo, Courtesy of Yossi Milo Gallery, New York The exhibition is the publication "Street & Studio. An urban history of photography. " Eds Ute Eskildsen, in cooperation with Florian Ebner and Bettina Kaufmann, Tate Publishing. With texts by Susanne Holschbach, Florian Ebner, Michael Bracewell and Jeremy Millar. 224 pages, numerous color, Price: 21.00 euros at the Museum Opening times: Tues - S0 10-18 clock Admission: 5.00 / 3.50 euros

for Ali

Deer and Teepee 2005

Billy 2007

Eli, Looking Down 2007

Amy Blakemore