The textbook for the Art Appreciation class I taught last year offered a chapter on protest art, an umbrella term encompassing artwork related to contestation – from caricatures of the 18th and 19th century to Pussy Riot performances. I asked students: why do the first examples of protest art – according to the textbook, at least – came into existence only a couple of centuries ago? Was conflict not there before, or perhaps it didn’t employ art? While this depends on the definition we choose for conflict and for art, what is normally conserved and transmitted through time is institutionally sponsored art; if it expresses conflict, that will be with other institutions and it would definitely not be considered protest art today. This led to an interesting discussion on how conflict and art intersect and how protest can be even identified in past cultural phenomena.
Toy camera fans, did you hear the news? The Holga is back.
One of the first posts on this blog, seven years ago, was about a roll of Kodachrome. As Kodak was discontinuing the production of its legendary film, the last lab capable of developing its unique process was ending its work, too. So I caught the chance and shot one roll of Kodachrome myself.
That last roll was actually also my first. While for most everyone else the pull of the film was nostalgia, for me it was something I could only define as second-hand nostalgia. I didn’t have access to Kodachrome while growing up, of course, but experienced its allure as part of the allure of the American dream – yet when I was able to access it, the dream had changed. Continue reading
Lonneke Engel for Versus, 1996, gracefully shot by Bruce Weber
Bruce Weber, a noted fashion photographer with a long and distinguished career, is having a retrospective exhibition at the Dallas Contemporary. It is fascinating for many reasons, but first of all because an exhibition venue known mainly for installations and projections has dedicated almost its entire gigantic space to a solo show of this kind of “traditional” photography. But also – and especially – because it offers an unusual view of fashion photography as it is.
Can you guess who this is meant to suggest, just by looking at the picture?
Photo by Ahn Jooyoun for Sera Park
It was a privilege to walk Christo’s Floating Piers on the first day of the project. They are the ultimate sensorial experience: all about touch, vision, and whole body mobilization: it felt so light yet the day after everything feels sore. Continue reading
Posted in exhibition, inspiration, reflections, review
Tagged Christo, Floating Piers, Iseo Lake, Lago d'Iseo, land art, Ponti Galleggianti, public art, walking
You already know this photo – it is the legendary portrait titled “Afghan Girl” that appeared on the cover of National Geographic in 1985 and then went on to become one of the most iconic pictures of all times. No wonder: the resolute gaze of the girl, in such dire circumstances, the unusual color of her eyes are indeed striking. What is also impactful but less consciously recognizable is the color contrast of the saturated green and red that appeal subconsciously. And if you are a photography enthusiast, you also know the name of the photographer, Steve McCurry, popularly famous for shooting the last roll of Kodachrome ever produced, too. He was given that honor by Kodak because that film, noted for its exceptional saturated colors, was his signature film. And you perhaps know that his signature style was striking human figures (most often shot in third-world countries) in traditional environments in saturated colors. Continue reading
Beach cyanotype. Hung home style
Rascuache (or, in its Americanized version, rasquachismo) is a Mexican term for reuse and repurpose of things. It is a strategy for everyday life typical for the poor masses as well as a mark of resourcefulness for people in general everywhere. But in the last decades rascuache is also an artistic term meaning the use of humble materials and unexpected sources of supplies – like plastic for drawing, discarded metal parts for sculpture and others. That may sound like the usual found-object crafts that we often see in gift shops and at artfests today but actually originate from the revolutionary practices of Chicano movement artists in the 60s. They used it not because it was cool but to make a political point and insert themselves in a process that was seen as the privilege of higher classes. Continue reading