《Black White Photography 201807.pdf》由会员分享，可在线阅读，更多相关《Black White Photography 201807.pdf（110页珍藏版）》请在taowenge.com淘文阁网|工程机械CAD图纸|机械工程制图|CAD装配图下载|SolidWorks_CaTia_CAD_UG_PROE_设计图分享下载上搜索。
1、COOL, CREATIVE AND CONTEMPORARYBW_217_COVER.indd 2BW_217_COVER.indd 216/05/2018 10:4116/05/2018 10:41TA TE MO DE R N2 MA Y 1 4 O C T 2 0 1 81 0 0 Y E A R S O F PHO TO GR A PHYthe second presents work by Vanessa Winship, the unsung chronicler of our time. Anna Bonita Evans reports on the unique doubl
2、e bill.NEWSSituated in the Barbican s lower art galleries, Politics of Seeing is the first UK retrospective of the great American photographer Dorothea Lange. While her images of the Great Depression have cemented Lange s legacy (her portrait of Florence Owens Thompson with her children is emblemati
3、c), this exhibition sheds light on her lesser known yet equally powerful work. The 300 objects making up the display present Lange s lifelong commitment to photography and her passionate belief in social equality and environmental conservation, helping to place her as a leading critical voice in 20t
4、h century socio-political photography. Eight series that range from 1919 to 1957 are sequenced in loose chronological order, with vintage prints, letters and other fascinating ephemera helping to paint a comprehensive portrait of the American photographer. Particularly notable works include her docu
5、mentation of the internment of more than 100,000 American Japanese citizens, which remained unpublished during the Second World War. This is the first time the series has been exhibited outside of America and Canada. Another highlight is her project with Ansel Adams on Californian shipyards; here we
6、 see Lange s distinct approach to covering a story: the focus is on celebrating female African American workers and their DOROTHEA LANGE: POLITICS OF SEEING06-09_ON_SHOW_217 ER-MB.indd 606-09_ON_SHOW_217 ER-MB.indd 616/05/2018 11:1016/05/2018 11:1007B+WAll images The Dorothea Lange Collection, the O
7、akland Museum of CaliforniaOpposite Drought Refugees, circa 1935 Above Migratory Cotton Picker, Eloy, Arizona, 1940 Below Manzanar Relocation Center, Manzanar, California, 1942defiance of sexist and racist attitudes. Other bodies of work put in the spotlight include early studio portraits of affluen
8、t West Coast families and her contemporaries (Edward Weston, Imogen Cunningham and Willard Van Dyke) as well as her artful depictions of vernacular architecture and landscapes. While these overlooked series are a welcome insight into a side of Lange we might not have known otherwise, photography s p
9、ower to affect change was central to her photographic practice and is at the core of the show. Death of a Valley, a compelling documentation on the disappearance of a small Californian rural town, is sure to be of interest, and Ireland, the first series Lange made outside America, will garner attent
10、ion. An original copy of the seminal photo book An American Exodus: A Record of Human Erosion in 1939 is exhibited, which Lange co-created with her second husband, prominent social economist Paul Schuster Taylor. Through careful curation, Politics of Seeing presents Lange as a feminist, civil rights
11、 activist and environmental campaigner and a woman who used the camera as a tool to communicate her message of social change.06-09_ON_SHOW_217 ER-MB.indd 706-09_ON_SHOW_217 ER-MB.indd 716/05/2018 11:1016/05/2018 11:1008B+WIn contrast to Dorothea Lange s politically charged imagery are the 150 works
12、on show in the Barbican s upper galleries. The pictures are by British photographer Vanessa Winship who, despite international success, has largely been overlooked in her home country. This is her first major UK solo exhibition with selections from seven long-term projects, including her new, ongoin
13、g body of work which shares the same name as the exhibition. While some describe her as a portraitist, others a documentary photographer, seeing her work en masse acts as a reminder that categorising her work into a genre is too limiting. Although Winship s work might tell us people s stories, it go
14、es far deeper than straight narration, as curator of the exhibition Alona Pardo explains: This exhibition sheds new light on Vanessa s practice, which is very complex. She is a chronicler of our world through a very different approach to others; her pictures are ultimately about her grappling with t
15、he world around her and making sense of it through the lens. She doesn t have a utopian vision about the power of photography, her work really comes back to her own biography. A remarkable artist who uses photography to connect with the world and its people in a meaningful way, Winship works slowly,
16、 allowing a theme to emerge and take form over time. She often lives in the regions she photographs and her engagement with her subjects is brief but powerful. There is an astonishing tenderness to her work; it is delicate, understated, compassionate and of course endlessly poetic. She captures the
17、beautiful places where serenity and hardship combine to offer portraits of places like no other. The series are sequenced chronologically, starting with Imagined States and Desires: A Balkan Journey and finishing with She Dances on Jackson the outcome of her winning the Henri Cartier-Bresson award i
18、n 2011. Those familiar with Winship s oeuvre will enjoy discovering more about her thought processes, working methods and VANESSA WINSHIP: AND TIME FOLDSUntitled, Humber, 2010Untitled, Black Sea: Between Chronicle and Fiction, 2002 to 2006 06-09_ON_SHOW_217 ER-MB.indd 806-09_ON_SHOW_217 ER-MB.indd 8
19、11/05/2018 11:2211/05/2018 11:2209B+WAll images Vanessa WinshipUntitled, Sweet Nothings: School Girls of Eastern Anatolia, 2007the importance of the written word for her creativity. Her new series will also be of great interest. Very much in its early stages, And Time Folds is quite different from h
20、er previous series. Colour images are set alongside black both shows are part of the Barbicans yearlong season The Art of Change. One ticket gains entry to the two exhibitions. barbican.org.uk06-09_ON_SHOW_217 ER-MB.indd 906-09_ON_SHOW_217 ER-MB.indd 911/05/2018 11:2311/05/2018 11:2304B+WWe present
21、some of the best black to her left are Robert Mapplethorpe s unseen Polaroids and just around the corner is the latest imagery from renowned photographer Chen Wei. Bacani is dressed elegantly in black, typing away on her mobile phone. 10-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1110-18_XYZA_CRUZ_BACAN
22、I_217_ABE-ER-MB.indd 1111/05/2018 11:2411/05/2018 11:2412B+WThroughout the interview, she exhibits a relaxed and familiar confidence, as if she s catching up with an old friend. She looks like she very much belongs in such a high-end setting. It would be easy to assume she s been doing this kind of
23、thing all her life how very wrong that assumption would be. Amid all of the photographers at the fair, Bacani s story is singularly unlikely, remarkable and inspiring. Bacani was born and raised in a village in Nueva Vizcaya, a rural outpost of the Philippines. She was eight years old when her mothe
24、r announced she was leaving the family. A travelling salesman had visited their village and promised lucrative employment with good, rich people in Singapore. She would be paid more than enough to send plenty back to Xyza and the family. Yet her mother s experience was one of abuse. She was traffick
25、ed into Malaysia on a tourist visa and in her first job (which lasted two years) she was allowed out into the daylight on just three separate occasions. She slept in what amounted to little more than a storage cupboard. Her main contact with Xyza was through photographs she sent through the post. Xy
26、za s mother later made it to Hong Kong and she found a good job with a kindly, ageing woman. At 19, after a decade caring for her two younger siblings, Bacani made the decision to follow her mother to Hong Kong and at 20 left the quiet, simple family life of Nueva Vizcaya and travelled to one of the
27、 largest, busiest and most unequal cities in the world. She stayed there for seven years, working side-by-side with her mother. On her Sundays off, Bacani would try to pursue her interest in painting. But Hong Kong, a metropolis she only glimpsed at during the week, lay on her doorstep. She started
28、to wander the streets of the city by herself. Beyond her employer and her mother, she knew no one. She saw herself as invisible: A stray cat in the city, she says. Eventually, she found the courage to ask her employer for an advance. With it, she bought her first camera. I had no idea what I was doi
29、ng, Bacani says, And the pictures were dreadful and ugly. But she persevered. Every Sunday, she would spend the day walking the streets with her camera, taking remarkably adept monochrome photographs of the small, momentary micro-dramas she witnessed. My employer didn t want me to see Hong Kong as a
30、 prison, Bacani says. At first, she saw her photography, as a way to relax, to decompress from the week. But she quickly realised her camera facilitated a more important function: I realised I was able to bring something home every time I went out, she says. My mum doesn t take time off, she s a wor
31、kaholic, so she s never really seen Hong Kong. Every time I went out, I was able to find something of the city to show her. It became a way for us to communicate with each other. She gained the courage to post them on her Facebook page and in 2014 she came to the attention of professional Filipino p
32、hotojournalist Rick Rocamora, who alerted the New York Times, who promptly published a selection of her work. I shouldn t admit this, but when I got the email from them, I didn t really know what the New York Times was. My world was small, she says.A child labour victim from Myanmar closes the door
33、of the shelter. Singapore, 2016 My mum doesn t take time off, she s a workaholic, so she s never really seen Hong Kong. Every time I went out, I was able to find something of the city to show her. 10-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1210-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1211/05/2018 11:2
34、411/05/2018 11:2413B+WKaramjit weeps as she share her story with other runaways in the shelter. She was physically abused by her employer. Singapore, 2016Erwiana Sulistyaningsih (centre) leaves the hearing where her former employer was sentenced to six years in prison. Hong Kong, 201510-18_XYZA_CRUZ
35、_BACANI_217_ABE-ER-MB.indd 1310-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1311/05/2018 11:2411/05/2018 11:2414B+WMembers of F15, a group of Filipino trafficking survivors, during barbecue night. Jersey City, 2015Xi Feng is a noodle factory worker. After her hand was injured at work the agent responsibl
36、e refused to return her agency fee. Singapore, 201610-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1410-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1411/05/2018 11:2411/05/2018 11:2415B+WRunaway migrant workers in Singapore share a meal inside the kitchen of the shelter. Singapore, 2016Daisy Benin Santos on a
37、Skype call with her children in the Philippines. New York City, 201710-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1510-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1511/05/2018 11:2411/05/2018 11:2416B+W10-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1610-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1611/05/2018 11:2411/
38、05/2018 11:2417B+WLeft Lilibeth was fired when she asked for maternity leave pay and her employer illegally kept her passport and tore it up. Hong Kong, 201510-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1710-18_XYZA_CRUZ_BACANI_217_ABE-ER-MB.indd 1711/05/2018 11:2511/05/2018 11:2518B+WCherry was forced
39、to clean houses for food and lodging but after fighting for her rights she now works as a teacher. New York City, 2015Her rise in recognition since has been vertiginous. Less than a year later she was awarded the Magnum Foundation Human Rights scholarship at the Tisch School of the Arts in New York.
40、 Susan Meiselas, one of the most celebrated documentarians in the world, led the course, and encouraged her new student to further mine into her own experience. She s a straight shooter, and she ll tell you as it is, Bacani says of Meiselas. But it s very rare to find a mentor like her. She will sup
41、port you not just in work but in your personal life as well. Bacani is now in the midst of working on a photobook documenting the lives of other migrant domestic helpers who suffered abuse at the hands of their employers. As well as looking at workers in America, most of her images have been taken a
42、t the Bethune House Migrant Women s Refuge in Hong Kong, a shelter for abused migrant workers. If domestic workers need help, or get terminated in the middle of the night, that s where they go, she says. As her pictures testify, many of the women were physically abused by their employers. Hong Kong
43、doesn t give any citizenship rights to immigrant workers, so there s very little these women can do in response. Bacani captures women with serious burns spreading across their back, or scars across their face. My former employer treated me with dignity, she says. I went to the shelter and saw how t
44、hese women had been physically hurt or emotionally abused I think the hardest challenge for me was containing the anger I felt. I had to try and channel the anger into something useful. But Bacani learned to use her own experiences to further her photography. Many of the women at Bethune House had l
45、eft children at home and hadn t seen them for many years. They weren t interested in me because I worked the same job as them, they were interested because I am a child of a migrant worker, because that s the thing that they can t know; the feelings of their children. They ask me how I felt growing
46、up without my mum and how my relationship with my mum is now. Last summer, the Magnum Foundation asked Bacani to go out on commission. They sent her back to Mindanao, the second largest island in the Philippines. It would be Bacani s first photo project in her homeland. This was no easy task. Mindan
47、ao is home to the largest Muslim population in the Christian-dominated Philippines. It s also a war zone as it s home to a multifaceted, decades-old conflict between rebel groups the Moro National Liberation Front and the Al Qaeda-influenced Abu Sayyaf. Amid this violence lies a school called Klasru
48、m ng Pag-Asa (Classrooms of Hope). Here, Bacani photographed children of both Christian and Muslim heritage as they study in the same classrooms. The work is ongoing; another trip is planned soon, so the photographs on the walls of San Francisco PhotoFairs are just the beginning. It s a lot of work, she says. I m working in a war zone, so I have to spend a lot of time working out how to photograph responsibly and safely. The series means a lot