Philip-Lorca DiCorcia: Heads

Vi har tidligere haft et indlæg om Philip-Lorca DiCorcia (her), men det forhindrer os naturligvis ikke i at præsentere ham igen. Denne gang skyldes det, at vi faldt over den første video herunder, hvor han taler om sin serie Heads og om de kontroverser, der fulgte i kølvandet på serien. Se selv.

Se endvidere flere af hans interessante serier her hos Leslie Simitch Limited, og så har vi inkluderet en lille fanvideo med lidt muzak til hans billeder.

Og sidst men ikke mindst; når du alligevel sidder derhjemme og keder dig, kunne du jo lige så godt kigge forbi Tate Channel og se og høre dette 82 minutters foredrag med DiCorcia, som blev afholdt i .f.m. Tate Moderns store fotografiske udstilling Cruel and Tender fra 2003. Det er et lidt sludrende foredrag, men ganske interessant.

Allersidst men ikke mindst et interview fra American Suburb X om Hustlers og Thousand.

Lav Din Egen Bogkasse

Da hjemmelavede fotobøger jo også interesserer os (apropos vores nuværende projekt), inkluderer vi lige en videomanual til at fremstille en bogkasse. Det kunne du måske godt få brug for på et tidspunkt. Hvis du iøvrigt kunne tænke dig at vide lidt mere om, hvordan man laver bøger, bokse und so weiter, så smut forbi Ceropegias YouTube-kanal.

Masao Yamamoto

I videoen kan du høre og se Masao Yamamoto fortælle om sine billeder og de tanker, han gør sig, når han skal arrangere sine billeder til udstillinger og layout.

The Incoherent Light skriver i en fin artikel bl.a. om Yamamoto:

He knows that photographs have a material weight, a presence, far beyond their actual dimensions. In Yamamoto’s hands they become infinitely charmed objects, bearing some intangible energy, showing how we use pictures like fetishes and like trophies – the very object of memory. His own pictures are feint, inconsistent; there’s something necessarily unreadable about them. Deliberately worn and stained, as though carried in a pocket for some time, as though the images held some burden of reference than needed constant re-affirmation, tokens of the fugitive present, now presented as evidence of some obsession, as proof, finally, that recall can never touch its subject.

og

Most of Yamamoto’s works could be held in the palm of your hand too; his exploration of size is arguably among the most astute in photography today. While the overwhelming trend has been to create monumental works, in line perhaps with the dog days of late capitalism, the intimacy he develops is not a reactionary critique of a “decadent” age; in fact what he whispers to you is far more subtle and it is this: there’s so much you haven’t seen you might as well not see at all, that you might as well be blind…

 

Hans bøger (bl.a. også de 2 afbilledede, Nakazora og Omizuao) udgives af Nazraeli Press.

Daido Moriyama

Vi har lige nævnt Daido Moriyama som inspirationskilde for Anders Petersen. Moriyama regnes for en af de mest betydningsfulde japanske fotografer i nyere tid. Darren Campion skriver bl.a. om ham i et fint indlæg i The Incoherent Light:

It is an art that is intensely personal, but at the same time implies a kind of “democratic” regard for lived experience – it is, in this sense, as much a psychological history of his native Japan and its heritage of cultural dislocation in the post-war years, as it is a self-conscious expression of his own particular photographic vision. In these pictures there is a persistent sense of movement, of a restlessness which cannot be contained; each frame captures a scene hardly glimpsed, but tries to take all that can be gained from each. The very act of making a picture becomes an act of self-definition, an attempt to locate himself in the world and a way for him to document the theatre of self.

Fra Luhring Augustines pressemeddelse i f.m. en udstilling med Daido Moriyama:

Witness to the spectacular changes that transformed postwar Japan, his photographs express a fascination with the cultural contradictions of age-old traditions that persist within modern society. Providing a harsh, crude vision of city life and the chaos of everyday existence, strange worlds, and unusual characters, his work occupies the space between the objective and the subjective, the illusory and the real.

Moriyama takes pictures with a small hand-held camera that enables him to shoot freely while walking or running or through the windows of moving cars. Taken from vertiginous angles or overwhelmed by closeups, his blurred images are charged with a palpable and frenetic energy that reveal a unique proximity to his subject matter. Snapshots of stray dogs, posters, mannequins in shop windows, and shadows cast into alleys present the beauty and sometimes-terrifying reality of a marginalized landscape. His anonymous and detached approach enables him to capture the “visible present” made up of accidental and uncanny discoveries as he experiences them.

Moriyama emerged as a photographer in the 1960′s at the tail end of the VIVO collective, a revolutionary and highly influential group of Japanese artists who reexamined the conventions of photography during the tumultuous postwar period. William Klein’s loose, Beat style images of New York City in the 1960s also served as a major turning point for Moriyama, who found inspiration in Klein’s free-form photographic style. Taken by these innovative approaches at home and abroad, Moriyama ultimately went on to forge his own radical style.

Her har du et par videoer med Daido Moriyama (ja, det har du ret i – video nr. 3 har vi tidligere vist på bloggen, her). Læs også en artikel om ham hos American Suburb X.

 

Anders Petersen

Her er et par videoer med Anders Petersen, bl. a. en workshop i 2 dele, hvor han giver gode råd til håbefulde fotografspirrer. Anders Petersens mest kendte projekt er Café Lehmitz (1967-70 – udgivet som bog i 1978 og genudgivet flere gange siden), som følger livet og stamgæsterne i en lille havneknejpe nær Hamburgs Reeperbahn-distrikt.

Hans stil dengang var inspireret af studier hos legendariske Christer Strömholm. I de senere år har han bevæget sig væk fra den klassiske dokumentarisme mod en mere mørk og rå sort/hvid stil med stærke understrømme af personlig erkendelse/oplevelse – sikkert inspireret af japansk fotografi, især af Daido Moriyama.

Af andre fotografer, som har hentet inspiration fra samme kilder kan nævnes Antoine d’Agata, Michael Ackerman, Morten Andersen og danske Jacob Aue Sobol.

Bonus feature: et interview med Anders i Vice Magazine.