March 8th, 2012
"Digital Darkroom" has already received some terrific coverage in the press and on the blogsosphere! Below is just a number of the many outlets and blogs that have mentioned the show:
New York Times Lens blog (Dec. 12)
New York Times Lens blog (Dec. 13)
The Los Angeles Times Framework blog
Check out this great video from a segment that aired on NBC4 the morning of December 15th.
March 8th, 2012
By Joel Grimes
It is estimated that in 2009 Flickr hosted over 4 billion photographs and Facebook users uploaded 30 billion images. This is just the tip of the iceberg with no end in sight. On the video front, YouTube now has over 12 billion views per month. We are without question in the greatest age of photography since its introduction. Never in the history of mankind has there been a greater opportunity to experience the creative process, and the ability to share it with the masses. We are in a Creative Revolution.
I often meet people that have only been taking pictures for a few years, and when presented with their work, I am simply blown away. In today's digital capture and manipulation era and with the hyper accelerated pace of learning and sharing, it is possible to accomplish in one or two years what took an average person say, 20 years ago, to accomplish in 10 years.
In 1979 Bob Dylan wrote about a "Slow Train Coming," but in 2011 that train is moving at a high rate of speed. Miss that train and you will be left behind. It is a rude awaking for those of us who grew up with Bob Dylan and have dug in our heals, resisting the digital age.
Part of accepting this new digital era is being willing to re-examine the very definition of photography. If we define photography by the technical process or by the tools used in that process then we are bound and obligated to work within that definition. A few years ago when I first started doing photographic composites, I received all sorts of criticism stating I was no longer a photographer but had now become an illustrator. Somehow we had accepted the manipulations done in camera and in the darkroom, but when it came to working in programs like Photoshop, well that was somehow cheating and crossed the line of traditional acceptance.
A few years ago I sat down and asked the question, "from the glass plate process to the new digital process what constant denominator has never changed and will never change in the future?" The answer is this: the creative process. In the end, the single greatest dominating unchanging force that drives the photographic process is that it takes an artist to create. What tools we use should be completely secondary to the creative process.
Once I let go of my preconceived definitions of photography and focused on my exploration and uniqueness as an artist, my work literally took on a whole new life. I was now free to explore the creative process without the restraining boundaries that once kept me in check by the definitions established by others.
Joel Grimes makes his living in commercial photography but has a parallel career in art. Grimes combines an artistic vision with an impressive fluency in the technical aspects of photography, creating images that make viewers see the world anew. See his work in Digital Darkroom which runs from December 17, 2011 - May 28, 2012.
March 8th, 2012
By Brooke Shaden
When I picked up a camera for the first time it was not to experiment with photography. In fact, I didn't even like photography. Instead it was to very strategically turn my dreams into reality. The first time I picked up a camera I never doubted that I would be able to create my own dream worlds using this tool. To me, this was a fact and that fact has propelled me into creating my own unique worlds.
As most people do, I start with an empty frame in a camera. The possibilities of what I could fill that frame with are endless. I choose not to point my camera at the world around me and click, hoping to get something magical. Instead, I fill the frame with my imagination. I will not take a picture unless the scene in front of my camera is as surreal and whimsical, or dark and mysterious, as what I see in my dreams. My pictures are staged, very much the same way that a painter chooses his subject, composition, color palette and other aesthetic choices before picking up a paint brush. I make these decisions before a camera lands in my hands, often only taking about five pictures per photo shoot. Every detail is pre-conceived before a piece of equipment ever enters the picture. However, every detail could hardly be conceived of in the world of photography without technology. I am a girl of the digital age.
In my image "Running from Wind," I was able to carefully construct the details of the picture. The girls run in front of the camera, both looking back, insinuating that something is chasing them. Every detail speaks to a timeless scene, a world that is unique from our own yet still touches on reality, and a mood that is not of this world. All of this is possible because of the digital age. That picture was created on a very early, foggy morning, just me, a camera, tripod, and my friend. It was created in a day but conceived of for much longer. My dreams are my reality; I know them very intimately. The joy of living in a digital world is that dreams no longer have to be kept inside. They can be turned into new worlds; they can be our reality.
The journey from the moment I picked up my first camera to my current life has been one of rebirth. The technical pieces that I taught myself along the way are irrelevant compared to the way I have changed how I think. No longer do I imagine the world I want to live in, I live in it every day. To part with my camera now would be like saying goodbye to a piece of myself. The two have become woven together and intertwined, and there is no future for me without photography.
Brooke Shaden's photographs seem like little films, complete with character, tension and a lush visual sense that might easily be called cinematography. One of her exhibited photographs was recently selected by director Ron Howard as one of eight photos used to inspire a short film. See her work in Digital Darkroom which runs from December 17, 2011 - May 28, 2012.
March 8th, 2012
Model Janice Dickinson was one of the thousands of visitors to the Photography Space this past weekend during the final days of BEAUTY CULTURE. Dickinson, whose image by Greg Gorman was in the show (see it here in the print exhibition slideshow), was kind enough to pose in front of the Digital Salon which used her face as its entryway. Thanks, Janice, for stopping by the show and thanks to all of you who made the show such a great success!
March 8th, 2012
As we enter our final weeks of BEAUTY CULTURE here at the Annenberg Space for Photography, one of the most frequently asked questions from visitors who watch our feature documentary continues to be "Who is that woman in the pearls and blue dress?" The woman whose statements have left such a lasting impression on visitors is our November 17th IRIS Night lecturer, journalist and author, Alex Kuczynski.
Since Kuczynski will grace us with her presence, along with photographer (and previous IRIS Night lecturer) Susan Anderson, during our final IRIS Night lecturers during the run of BEAUTY CULTURE, it's a great time to learn more about "the woman in the pearls."
The ambition that would ultimately lead to Kuczynski's success as an award-winning author and reporter appears to run in the family. Her father, Pedro, was a candidate in last year's Presidential election in Peru. John Casey, The National Book Award Winner and novelist, is her maternal uncle. Kuczynski, however, isn't interested in resting on family laurels. Carving out a name for herself as a reporter for The New York Times, she took it one step further and authored an uninhibited, behind-the-scenes examination of the cosmetic surgery industry in her book, Beauty Junkies.
Beauty Junkies is a revealing view at what is now a demographic-defying $15 billion fixation on youth and physical vitality. In a recent article for Harper's Bazaar, Kuczynski sums up the obsession saying, "The pressure to stay young, and to remain young looking, is at a fever pitch in America. Those seeking the holy grail of youth are driving up the number of cosmetic procedureswith Americans getting more than 13 million of them every yearin their quest for a smooth forehead and taut cheekbones."
In her book and featured role in the BEAUTY CULTURE documentary, Kuczynski readily admits to experimenting with a few cosmetic procedures in her 20s and 30s, but ultimately realized that "Living out west [in Idaho] has made me release all the ideas I used to have about success, including the quest for that perfect age-defying forehead. In fact, I've discovered that the more I give up, the greater the reward. I stopped trying to think I could do it alland in part, I was forced to....you can't worry about your hair or your skin because the one practicing dermatologist in our town doesn't even do Botox."
We hope you'll be joining us for our final IRIS Night lecture with "the woman in the pearls" Alex Kuczynski and High Glitz photographer, Susan Anderson on November 17th for what is certain to be an entertaining and very enlightening conversation. If not, you'll still have a few days to visit BEAUTY CULTURE one more time before its closing day on Sunday, November 27th. We hope to see you soon here at the Space!
March 8th, 2012
Model and actress Andie MacDowell, looking as stunning as ever, came in to check out BEAUTY CULTURE a few days ago and was happy enough to pose for a photo during her visit. Thanks for stopping by, Andie!
March 8th, 2012
BEAUTY CULTURE's run at the Space is currently at it's half-way point and visitors continue to flock to the show. Among those who stopped by this past weekend was Fran Drescher, who was super-friendly. Thanks for checking out the exhibit, Fran!
March 8th, 2012
Not even a broken leg could stop photographer Brain Bowen Smith from giving a rousing lecture at IRIS Nights last night.
Brian did not intend to define beauty last night but instead explained that he believes that the topic is truly subjective.
He described how the combination of luck, guts and fate landed him his first job with famed photographer Herb Ritts, who would later become his mentor. According to Brian, Ritts taught him how to adeptly manipulate natural light and use photography to translate a model's true self.
But his most significant contribution was the idea of simplicity. "Beauty is simplicity and everything revolves around beauty," said Brian. "So I want to keep it simple."
Brian revealed that Ritts's style has been a source of inspiration throughout his professional career. Here's a photo that has a hint of Ritts but is truly all Brian Bowen Smith.
Brian reiterated his belief in simplicity. "Don't make a big deal about it," offered Brian. "Have fun. Keep it simple."
His exuberant and animated personality had the audience engaged and laughing the entire night.
As one audience member put it, "he was so personable and such a good speaker. I was amazed by him!"
Thanks for a terrific lecture, Brian. Here's to a quick recovery!
For more information about Brian, visit his website.
(All lecture images by Unique for the Space)
March 8th, 2012
Susan Anderson, an internationally known photographer and expert on the High Glitz culture of child pageantry, recently gave us her take on the industry at our Iris Nights Lecture.
Although she abstained from giving any formal opinion on the controversial subject of beauty contests, she did claim that this is not a new issue we are dealing with. Anderson put on the screen a classical painting of Aphrodite and the golden apple and posed the question, "could this have been the first beauty pageant?"
Her question was meant to explain that society has always idealized women and we have always been fascinated with the fairy tale ending. The fake eyelashes, the artificial tans, the thousand dollar hair dos, and the sparkly dresses all play into a preexisting culture that we are all partially responsible for creating.
Anderson admits that the most popular responses to her work are either to moralize or to laugh. But she offers a different response: to just present. She suggests that the little girls collaborate with her, that they have fun with it and it is their way to act, play a role and take a reality and make it their own.
She offers and interesting perspective because from where she stands it is simply art, it is fascinating and it is visually stunning.
To see more of Susan Anderson's work click here
March 8th, 2012
Carmen Dell'Orefice has been giving us images of perfection since she was 15 years old - that's 65 years of working as a model...65 years.
Carmen turned 80 this week, breaking every boundary between age and beauty that anyone might be holding.
This is what 80 looks like:
Well, to be totally honest this is what 78 looks like - it was shot as part of an ad campaign for Rolex in 2009. This photo by Fadil Berisha is so stunning that we used it as one of our street banners that promote the BEAUTY CULTURE exhibit.
The image below was shot a month or so ago - so this is what 79 years and 300 some odd days looks like:
...and another one a few months before that:
Just shy of 80 folks. I'm just saying...we can all but pray that 80 will be so kind to us.
What's even more amazing than how young she looks now, is how mature she looked when she was 15 and posed for her very first Vogue cover. I know one thing - she didn't look 15.
See images below that follow her teenage debut and demonstrate over and over how Carmen has remained a timeless fashion plate and style icon...not to mention a muse to photographers such as Avedon, Horst, Parkinson...and the list goes on.
Don't hate her because she's beautiful...and Happy 80th Carmen!
May you have many more.
