Special thanks to Brian Sokolowski, Patrick Hesse, Chris Johannesson, Mathew Llanglois.]]>
The song “this mess we’re in” by pj harvey and thom yorke combined with the photographes of trent parke, from his dream/life exhibition.
Born in Newcastle, Australia in 1971, Trent Parke now lives in Adelaide, the only Australian photographer in the celebrated Magnum group.
Trent won the prestigious W Eugene Smith Award for humanistic photography in 2003, for his epic road trip around Australia, “Minutes to Midnight”. He has also won World Press Photo Awards in 1999, 2000, 2001, and 2005.
He has been awarded five Gold Lenses from the International Olympic Committee (1996, 1997 and 1998) and the Canon Photo Essay Prize in the 2000 Sasakawa World Sports Awards. He was also selected to be part of the World Press Photo Masterclass in 1999.
Trent self-published his first two books: Dream/Life in 1999 and The Seventh Wave (with Narelle Autio) in 2000. Both made the top two in the book category at the Picture of the Year International.
His work has been widely exhibited, including recent solo exhibitions in New York, London and Germany. “Minutes To Midnight” was shown at The Australian Centre for Photography in Jan/Feb 2005, in conjunction with the Sydney Festival, and became the most highly-attended show in the recorded history of the ACP.
Trent Parke is represented by Magnum Photos and Stills Gallery.
In 1967, when the Museum of Modern Art in New York City presented New Documents — a major exhibition of the personal visions of several photographers — the surprise of the show was the work of Diane Arbus. On her own, against the advice of many friends, she had pursued her documentation of people on the fringes of society, and the astonishing in the commonplace. Suddenly she was famous, with students and imitators. By 1972 her work was everywhere, and was featured at the Venice Biennale, where it became, as New York Times critic Hilton Kramer said, the overwhelming sensation of the American Pavilion. But by then Diane Arbus was dead, by her own hand. “Nothing about her life, her photographs or her death was accidental or ordinary,” wrote Richard Avedon. “They were mysterious and decisive and unimaginable except to her. Which is the way it is with genius.”
This half-hour documentary was made that same year. It explores her work and ideas, often in her own words as spoken by a close friend. It includes reflections by some of the people who knew her best; daughter Doon, teacher Lisette Model, colleague Marvin Israel, and John Szarkowski, at that time the director of the photography department at the Museum of Modern Art.
Josef Koudelka (b. January 10, 1938 in Boskovice, Czechoslovakia) is a Czech photographer.
Helen Levitt, born 1913 in New York, is one of the most important photographer of the 20th century.]]>
Mark Cohen, a self-described “surrealistic action photographer,” is profiled in this episode of “Profiles in Excellence.” Cohen pioneered street photography, capturing the real, spontaneous moments in the public life of a city. He continues working today.
Winogrand street photographer
one of the best!
IN THE STREET PICTURES of the early sixties Winogrand began to develop two pictorial strategies that he found suggested in certain pictures in Frank’s The Americans. The first of these related to unexplored possibilities of the wide-angle lens on the hand camera. The conventional conception of the wide-angle lens saw it as a tool that included more of the potential subject from a given vantage point; most photographers would not use it unless their backs were literally against the wall. Winogrand learned to use it as a way of including what he wanted from a closer vantage point, from which he could photograph an entire pedestrian (for example) from a distance at which we normally focus only on faces. From this intimate distance the shoes of the subject are seen from above, its face straight-on, or even a little from below, and the whole of the figure is drawn with an unfamiliar, unsettling complexity.
Winogrand was uninterested in making pictures that he knew would succeed, and one might guess that in the last twenty years of his life, excepting his commercial work, he never made an exposure that he was confident would satisfy him. The most widely quoted summation of his position is surely his remark that he photographed in order to see what the things that interested him looked like as photographs. Like many of Winogrand’s epigrams, this one seemed designed to infuriate the guardians of conventional photographic wisdom. On the surface it would seem to mean precisely the opposite of what Edward Weston meant when he said he wished to previsualize his finished print in every detail and tonality before he released the shutter. It should be noted however that Winogrand’s remark defines a motive and Weston’s a goal. It should also be understood that Weston defines a goal which, once attained, would be useless. An artist of Weston’s restless, vaulting ambition could not have kept himself amused by manufacturing perfect replicas of pictures that were already perfectly finished in his head, and that could not reward him with surprise, or the thrill of success after doubt. Weston’s statement and Winogrand’s express a shared fascination, central to the work of each, in the difference between photographs and the world they describe, and in the possibility that the former may nevertheless, if good enough, tell us something important about the latter.