by Pierre Beteille I am proud to say that the Annenberg Space for Photography's "Digital Darkroom" is my very first photography exhibition. I was excited to be given the opportunity to go to the show's public opening and witness, for the first time, people react (if they reacted at all!) to my images in a public setting. I take my photographs in my apartment in France. I mostly shoot self-portraits and work alone, without an assistant. As a result, I have no direct feedback on my work. Of course, I get comments and messages from people on the Internet, but they inevitably come only from those who are receptive to my work. Coming to Los Angeles for "Digital Darkroom" was really my first opportunity to see people's instinctive reactions - either good or bad - in person. While it may seem rather childish and narcissistic satisfaction, to see people smile and react with such pleasure to my photos brought me an incredible sense of fulfillment. My work sometimes deals with serious issues that are important to me but I try to juxtapose the more solemn subjects with humor. For example, my latest photos focus on the speculation on the cereal markets and the nuclear disaster at Fukushima Daiichi nuclear power plant disaster in Japan. Glamorous themes, aren't they? My goal is to make people think about these important topics without boring them or putting them off, and the only way I can accomplish this is through the use of humor or satire. Humor can sometimes be very specific to different cultures, and I was not sure that it would be perceived in the same way from one continent to another. This is why one of my fears was to see people remain indifferent to my pictures. On the day of the "Digital Darkroom" public opening, a young girl in a wheelchair visiting the Photography Space came to me and with a great big smile said to me, about my photographs, "Thank you; you made me laugh." Even if I am a big boy, I must confess that I was very moved and that it almost brought tears to my eyes. This single sentence is the most beautiful reward and the best encouragement that I could receive for my work. Thank you all for your smiles! Pierre Beteille is a self-taught talent in Paris who has an unbridled humor and wit. He takes pride in never having read a book, watched a tutorial or taken a class on photo manipulation. His digital creations are highly original, each image functioning as both a punchline and an act of rebellion. See his work in "Digital Darkroom" which runs from December 17, 2011 - May 28, 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
Matthew Rolston, an icon in fashion photography, came to entertain us at the IRIS Nights lecture yesterday. He also brought his long time friend, journalist Merle Ginsberg. Her questions and insight into Matthew's work helped reveal exciting information about his unique body of work.
Rolston confessed that he didn't see himself as simply a photographer or director but rather an 'idea' person, wanting to extend his talents into all areas of the creative world.
Rolston also explained his process of creation as collaborative and told stories of working with Anna Nicole Smith or Christina Aguilera. Aguilera actually came to him a year in advance in order to plan a photo idea for her upcoming album release.
Rolston then provided insight to his role in the industry and his vision for expanding the cannon of beauty. "For me photography is worship." said Rolston, "Human desire is about genetics - survival. The things we consider to be beautiful...go to the core of survival."
In a surprise turn of events the two guest speakers invited the entire audience to join them in a drink, outside on the plaza at our first IRIS Nights complimentary cocktail party.
Needless to say it was a glamorous night out with the Annenberg Foundation and two hundred of Rolston's closest brand new friends
Thank you Mr. Rolston for a lovely evening.