Fall 2009 Week Two

Three Photographs I have taken recently with the reasons I selected each photograph:

Three images of anything that I found on the internet from three CURRENT exhibitions in major cities outside of Denver with the reason I selected each photograph with links to the current exhibition:

Fall 2009 Week One

CINDY SHERMAN
Untitled (#468), 2008
Color photograph
70 3/16 x 54 inches unframed (178.3 x 137.2 cm)
Ed. of 6

Cindy Sherman June 7 - September 19 Gagosian Gallery

I chose this photograph because the woman looks very uncomfortable and the point of view seems low.




Richard Avedon
Suzy Parker and Robin Tattersall, dress by Dior, Place de la Concorde, Paris, August 1956
© 2009 The Richard Avedon Foundation

Avedon Fashion 1944 -2000 at the International Center of Photography May 15 - Sept 20, 2009

I selected this image because it is very carefree and happy. The point of view seems low and I like that too.

	Marcia Resnick (American, born 1950). Glenn O'Brien's TV Party, NYC. 1980. Color photograph. 8 x 10" Looking at Music: side 2 Museum of Modern Art, NY, NY I initially chose this photograph because of the awkward composition. The photographer shot from a low position and there is a great deal of empty space at the top of the image. The people posing have their legs cut off.

Three Photographs I have taken recently with the reasons I selected each photograph:

Three images of anything that I found on the internet from three CURRENT exhibitions in major cities outside of Denver with the reason I selected each photograph:

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.