By shooting all those redundant, useless digital images I’m simply passing the buck to my future self, the one sitting despairingly in front of the computer.
via planet shapton.
Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.
I came across Marc Philbert’s campaign for The Harvey Nichols Sale on Ads of the World and loved the vibrant look of the images mixed with the funny positioning of the talent. I reached out to his agent, Cailtyn Boucher of Made in Paris. She was wonderful in getting my questions to Marc. Thank you Caitlyn.
Suzanne: I can see from your website the palette in some of your fashion shoots? But the humor from ads from Bourjois and AXE. But these ads pushed it even further. How much did the agency allow you to take this campaign?
Marc: Well it was the client’s request to go that far, then it had to be done sharply…so that it wouldn’t look ridiculous
Suzanne: Models always want to look beautiful. How did you get the models to distort their faces so perfectly?
Marc: They were aware of the concept and chosen for that. Plus they’ve got a good sense of humour and it’s not necessarily that they all want look beautiful… they are clever and most of them understand that it’s a job to be able to act differently
Suzanne: Since this campaign is so brilliant, how has it changed your commercial career?
Marc: Not so much I confess and it’s difficult to know sometimes why you are chosen.
Paris-based photographer Marc Philbert is a graduate of Louis Lumière University, France, clients include ELLE, GQ, Marie Claire, Glamour, and Vogue.
Note: Content for Still Images In Great Advertising is found. Submissions are not accepted.
Where were we? Right. London. I loved it. How’s that for succinct? Now you don’t have to read any further. (Just kidding.) It’s a fantastic city, one of the great spots on Earth. And of course, England and the United States have a “special relationship”, (as if I could make such a thing up) so there was lots to talk about.
My good friend Hugo, the deviser of the Art tour we began yesterday, moved from New York to London in 2007. He endured the Bush years, but missed all of Obama’s term. So he was incredulous when I told him that nobody talks about George W. Bush anymore. (From omnipotent to irrelevant in 4 short years.) Can you imagine? In Hugo’s mind, all that passion about W. was locked in time, and delivering the news of his obsolescence brought calcified shock to Hugo’s eyes. But I digress.
We left off on Friday, after visits to the British Museum and National Gallery of Art. My brain was tired, but we soldiered on. Our tea spot of the day was a cafe and bakery on the top floor of the Comme des Garçon store near Saville Row. The green tea and bacon-egg-tart were equally smashing. Our waitress was American, and dropped the word “bangin'” on us as if it drew gasps of pleasure from a more typically British crowd.
Then, on to some galleries up the street, right next to that famous fashion spot for bespoke suits. The first, Hauser & Wirth, had two separate galleries. One was lacking, and the other had some super-large, super-subtle paintings by the Dutch artist Michael Raedecker. They were panels, striated in pale pink, gray-silver, and green: Houses on a hill, chandeliers, and window curtains the symbolic motifs. Nice houses. Serene. Like on a hilltop outside LA. Easy living. (Sounds nice.)
The paintings were really, really beautiful. In the gallery, with its huge ceilings, white walls, concrete floors, insanely large square footage, nice ladies behind the counter…Pretty special.
Around the corner and up a short elevator ride, we went to see a Sarah Lucas exhibit at Sadie Coles. The woman working there, again friendly, was wearing this wicked Victorian-collar-meets-well fitting-short-dress, in black. It was seemingly on trend, as one of the ladies at MACK wore something similar that morning, in blue. (Not that we’re here to talk about fashion.)
The show was insane for three reasons. One, there was a video by the artist’s boyfriend (of course), in which he was playing with himself dramatically, while wearing fake boobs. And homeboy was selling it. It was so offensive it was hard to look away, so I didn’t. I watched for a solid two minutes, and make of that what you will.
Two, the artist, Sarah Lucas, had a piece in another room of a raw chicken hanging off of a hanger with cooked eggs. (The chicken has to be changed when it starts to smell.) Three, was a large-mural photograph, printed right on the wall, of a giant T-shirt, with just the middle of the nipples worn out on each side. I asked if it was editioned, and I was told yes. Ed. of 5. “Made to measure.” And I’m not making that up. That’s exactly what she said. Right next to Saville Row.
That night, I had dinner with a motley crew of global photographers at a Turkish restaurant in North London. We set the whole thing up in an online Facebook chat, if you can believe it, and I walked from Hugo’s place down the road. En route, I saw a road called Ennis, and some clever bloke had painted on a P at the front. Then, he claimed his credit: “Cletus wuz ‘ere, ’12.” Nicely done, Cletus. Nicely done.
Sitting down at Petek, ravenous, I started scarfing olives until I could catch my breath. And with whom was I to dine? Ben was British, Hin an Australian of Chinese descent, Dana from Romania, Liz another Brit, and Maja from Sweden. They all loved living in London, were working on totally disparate projects, (Romanian youth identity, Occupy St. Pauls, following the entirety of the Rio Grande River…), and seemed fulfilled in their careers. Wait, that’s so boring. No controversy? Sorry, not that night.
Saturday took us to the Burough Market, near the London Bridge tube stop, where we shopped for some of the most fantastic products I’ve seen. There was a dinner planned for that night, and we wandered the stands looking for inspiration. We ended up going the Italian route, as these were things that don’t exist in New Mexico. Mozzarella di Bufala, Grana Fiorentina, bresaola, rocket (arugula), fragrant lemon, tortolloni di cingale (wild boar,) and fresh garlic shoots to top it off. Our dessert of hazelnut, chocolate and coconut gelato was purchased the night before. Like I said, Hugo doesn’t mess around.
Art wise, we went to the Hayward Gallery, another public space, right up the way. (Though we did scarf down a Syrian Schwarma at the outdoor food market just below the entrance. Delicious.) This gallery does cost money to enter, and it’s a part of the massive, partly-Brutalist Southbank Centre on the edge of the Thames. Very beautiful spot. (Have I said that already? Are you sensing a theme?)
Two British artists, like Sarah Lucas a part of the famed YBAs, were paired together, Jeremy Deller and David Shrigley. Each, on its own, would have been a brilliant experience. Together, they were good enough that I deemed myself (incorrectly) done viewing Art for the rest of the trip.
We went into the Deller exhibit first, as it was on the ground floor. Both men work in multiple media, including a fair dash of photography, and utilize humor, wit and pathos. Straight off, we entered a room filled with Music posters and random photos, cramped and not exactly special. Next, a fake bathroom with a real toilet, as an installation, with people queued up to enter. OK, now we’re getting somewhere. Next, a huge wall mural, painted in dark gray, that said I Heart Melancholy. But the heart was an emoticon. Which I don’t know how to type properly.
Then, a photo print on mirrored stainless steel, a hanging video of dancing weirdos, a functioning restaurant in the middle of the gallery space, a couple of super-well-done photo series, a newspaper and reading lounge, an exhibit of professional wrestling capes, a whole section called “My Failures,” where he shows projects that never happened, and finally, miraculously, a 3D video, in a dark room filled with strangers, of 10 million bats emerging from a cave in Texas. Try reading that sentence again ten times, and you might understand how I felt coming out of the bat cave. I normally get headaches from 3D glasses, and this was no exception. But it was worth it.
I soldiered upstairs to see David Shrigley’s exhibition, from whence my memories are more fuzzy. Mr. Shrigley’s work was even funnier and odder, or perhaps just equally so. The first thing you see is a melted foam fisherman in hip boots. No, sorry, before that was of course the headless fabric ostrich. Then, a photo of a red sign on green grass that said “Imagine this green red.” A grocery list on an actual tombstone. A series of line drawings, animated, as black on white music videos. And, of course, a stuffed Jack Russell terrier in a vitrine holding a picket sign that said “I’m dead.” Just one more? On a wall pedestal, a 1 ft tall brass bell, next to it a sign saying “Not to be rung again until Jesus returns.”
That was one dense paragraph. And I didn’t even cover 1/4 of the show. You get the point. Clever stuff. Witty, smart, creative, and powerful in person too. Together, this was one of the best exhibitions I’ve seen in a long time, alongside “September 11”, which was a Bizarro version. (Tragic/Comic)
Spent, I said I was done. I told Hugo, “No more. No more. Have mercy.” Even one more espresso/lemon tart pit-stop, and a walk along the Thames, didn’t clear my head enough. (Sample surreality: a three-piece Gypsy jam band, an African guy playing the saxaphone, and an Afghan man selling fake peacock feathers: all within 90 seconds on the Thames.) But then we found ourselves, mere steps from the tube stop, standing right outside the beautiful, Gothic, Southwark Chapel.
I. Could. Not. Help. Myself. So we went in.
Huge, vaulted ceilings, dark and imposing, it was irresistible. We slowly walked towards the crucifix ahead, and it glimmered. What? We got closer, and it was clearly metal. Just as I spied a route to get us closer, the deepest, darkest, scariest-sounding,two-story-high organ began to play, directly above my head. So, so, so frightening. Hugo said, “Remember, these were the guys who invented Halloween.”
I shook off the sound, and walked around that corner and up to the statue. A metal screaming Jesus, pierced by countless spears. That’s right, screaming. “Die Harder,” by David Mach of the Royal Academy. Recent, contemporary Art, displayed in a Gothic Cathedral. Not a merciful god, this.
Next, the very next minute, no lie, with the organ thumping in the background, and the scary Jesus sculpture shimmering behind me, Hugo tapped me on the shoulder, and there, a cat padded down the hall towards us. Then he skulked by, and disappeared. (This is not a work of fiction.) Have you had enough?
That night was a beautiful dinner party for my birthday, so the next day required a late start. (Especially as it featured the only real rain I saw all trip.) Hugo’s loft has got a partly glass roof, so we squirmed off much of the ensuing hangover by drinking crazy-special tea from China, and watching the gray clouds move across the sky. I said, “No more art. I can’t do it. Please, don’t make me.”
Eventually hunger, if nothing else, drove us across London, in the Porsche, in the rain. On to the Victoria and Albert Museum, one of the other Crown Jewels of London. (Really, it was straight to the coffee shop.) We sat in the Victoria Room, which was suitably decorated, and ate currant scones with jam and clotted cream. We drank Lapsang Souchong tea, which is smoked. I’d heard of it before, but did not believe such things existed in actual realty. (Ever the economist, I assumed it was like a widget, a fictional product that doesn’t exist.)
What did I see, that you’d want to know about, that you could even possibly remember, after reading both of these articles? How about a golden kimono made of cannibal spider silk? One million spiders, to be exact. Or a stone tiger urinal from 6th Century China? Or, crazier still, a plaster replica of Trajan’s column from Rome, to scale, at 38 meters high and 3.8 meters wide. For you Americans, that’s 125 feet tall. (Imagine the roof on this place.)
Then, cruel twist of fate, the last gallery we visited housed the permanent photography collection. (The second to last show was the Cecil Beaton portraits of the Queen, which is not free, and totally, I repeat, totally, worth skipping.) As for the final act, let’s just list the names, shall we? Amazing examples all: Roger Fenton, Julia Margaret Cameron, Muybridge, EJ Bellocq, Atget, Stieglitz, Cartier-Bresson, Man Ray, Walker Evans, Ansel Adams, Bill Brandt, Harry Callahan, Diane Arbus, Frank, Friedlander, Ed Rushca, and El Lissitzky. Just. One. Room.
At that point, the Museum was about to close, so they chased us out. Hugo and I stopped for sea urchin at a secret-sushi spot, and then drove home, exhausted. I caught a plane the next morning.
What else is there to say? London is fantastic. You should go there. That is all.
I first met Hugo in graduate school. Day one, I believe. It took me a few months to discern that he was well born. The type that neither brags nor name drops. From London originally, he was raised in Upper Manhattan, and attended the right sort of schools. (We used to laugh at the visual of a little 5 year old in short pants, tossing his British accent amidst the swarms of rabid New Yorkers.)
We stayed close in school, taking the same photography classes, and graduated together. Other than the random visit to the Soho House, lounging in the roof-top pool, high above the Meatpacking District, he acted no differently than any other graduate student. When I moved back to Taos, he came and visited twice, tearing up the slopes with his Swiss-style-skiing. (All hips. Pretty to look at, but you wouldn’t really want to take it into bumpy trees.)
And then, nothing. Our relationship devolved into monthly two sentence emails, as he made it plain that the next visit was on me. He moved back to London, the economy fell apart, and the chances of me scrounging up the cash for an Intercontinental plane ticket were only slightly larger than Rick Santorum becoming President.
Relationships, like plants, need water. Email, Facebook, Twitter, they all work for basic relationship maintenance, but friends need to see each other from time to time. Or things die. So when I finally got to visit London last month (to report on the Art scene for our faithful APE readers,) I had an extra-special-double-secret reason to go.
Emerging from the plane, my first time in the UK, I thought it no different from any other jetway. It calmed my nerves after the long trip. As soon as I set foot in passport control, it was clear that I wasn’t in America anymore. The line snaked along under purple lighting and exposed silver duct-work, and my fellow travelers hailed, rather obviously, from Afghanistan, Mongolia & Southeast Asia. I waited my turn, passed through the booth, and was off.
As a resident of America’s car culture, there are few things as pleasurable as emerging from a foreign airport and hopping on a train in the basement. The type that whisks (or crawls) you into the heart of town, for little cost. (As opposed to the $35 taxi ride I recently took on the way back to Houston Hobby.) Luckily, Hugo lived just a few blocks off the Picadilly Line, the very same train I grabbed at Heathrow.
Just over an hour later, I knocked at Hugo’s door, in the shadow of the gorgeous Emirates Stadium in North London. (Yes, I follow Arsenal. Predictable, no?) Hugo answered the call, dressed impeccably in the kind of gentleman’s pajamas that only make sense in certain circumstances. (Very sharp, but I don’t think I could pull them off on the farm.) He said, “Great to see you again, Old Chap.” Game on.
It couldn’t have been more than two minutes before I had a perfect Lavazza espresso in my hands, chased by some beautiful Italian mineral water. I barely exaggerate when I say that for the next 96 hours, while awake, there was always some brain-chemistry-enhancing-substance in my hands: coffee, tea, water, wine, gin, champagne, or a hand-rolled cigarette. I normally don’t smoke, but to properly battle jet-lag, that mashup of adrenaline, caffeine, nicotine, alcohol and H20 works very well. (Until the crash, of course. But you don’t want to hear about that.)
Why all the fuss about Hugo, and his regal understanding of hospitality? Because I was there to see Art, and he was my guide. For the first time since I wandered the streets of Rome, trailing my freshly-taught younger brother, I let someone else do the planning. Hugo knows me very well, and understands my taste in Art, among other things. So I allowed him to pick our spots, as well as the order in which we saw them. Perhaps he was an over-qualified tour guide, but you are the beneficiaries, so I thought a bit of backstory was appropriate.
All this was on a Thursday morning. The tour started that afternoon, after we visited with a curator friend of his. She was lovely, but I’ll respect everyone’s privacy for once, and not drop her name. (I didn’t know she was important at the time anyway.) The three of us hopped into Hugo’s 1983 black Porsche, replete with whale-tail and silly cherry-colored-checkered seats. It was a flashback to the 80’s, yes, but served like a better version of an ironic mustache. So cheesy it was cool. So nerdish it was smooth.
We ate lunch in the East End, apparently trendy, and then hit a few galleries so that I could earn my keep. We saw 150 year old paper negatives at Daniel Blau, which only served to highlight the importance of talent and vision. Several pieces, by Gustave de Beaucorps, jumped off the wall, and the rest didn’t. Even the power of age didn’t lift a pedestrian image above its merit. Though I did feel that in a digital age, it was far more difficult to connect to the passage of time. As everything can now be faked, it sometimes disempowers the real thing.
Another highlight was Yayoi Kusama at Victoria Miro. Countless huge paintings hung on the wall, the Pop palette mixed up with an interesting, Eastern-tinged symbol set. Hard to believe so much work was available to view, as the artist was having a concurrent show at Tate Modern. (Which I then felt less of a need to see.) We also went to a public gallery called Parasol Unit, where there were some terrific Richard Long pieces on the wall. White China clay hand prints on black paper, marching from one corner of the composition to another. Beautiful and elegant. (Like London?)
Whipping through the streets, shortly thereafter, Hugo pulled to the side of the road by a tube station, and ejected me out with little notice. I was already trending late for my aforementioned meeting with Aron Mörel, and there was no time to waste. I was tardy, in the end, but only because I couldn’t sort which direction was which back on street level. And my fellow pedestrians were no help at all. (Not surprisingly, the only times I felt lost and out of place in this brilliant city were when I was alone, and trying to find my way.)
When it happened Friday morning, not 300 yards from the MACK headquarters, I got a great piece of advice from a local. Staring helplessly at a map, certain that Denmark St was practically within reach, I asked a nice man which way was North. That was all the help I needed to orient myself. He laughed. “There’s no such thing as North, South, East and West in London,” he said. “My wife’s American, so I can see why you’d make that mistake. She was the same.” Then he directed me the wrong way. (By accident, of course.)
It wasn’t until that afternoon, deep into Hugo’s perfect Friday Art tour, that I understood what the gent meant. We ambled from one plaza to another, or one alleyway, or one narrow lane. Here in Taos, I can see for 100 miles, no lie. But in London, “Here” was never more than a couple hundred yards in any direction. We’d not yet made it to the Thames, so every turn we took just landed us back into a serpentine block of beautiful buildings, not so different than the last. It made mid-town New York’s grid look positively German. What it lacked in perspective, though, it more than made up for in charm. (Seriously, though. How do they keep London so clean?)
The first stop on our tour was the British Museum, to see the King’s Gallery. I haven’t googled it to fact-check, but Hugo said it was the world’s first public Art museum. And by public, I mean free. None of the public museum and galleries in town charge a fee, unless you’re seeing a special exhibition. We sauntered in, without even a bag check, and the place was teeming with people. Think about it. In NYC, at $25 a ticket, a family of four has to shell out $100 to experience the best art. And that’s per museum. Here: Free. Brilliant.
The King’s Gallery looked like a huge library in a castle somewhere in the country, with an open second story covered with books. There was far too much to see to take it all in, so as a viewer, one gravitates to whatever pulls you. Like shopping in the Mega-mart. You might not need any laundry detergent, but of course you have to have some pickles. I was delighted there, and all trip for that matter, to see things I’d never seen before.
What did I love? Some greenish-patina colored Centurion helmets. Amazing. I guessed Roman, and was not too far off. They were Etruscan, so I was 500 years too late. There were also some glazed relief tiles from Buckinghamshire, made in the 13th or 14th Century. A crucifixion piece looked like a mashup of Tim Burton and Monty Python, gruesome and yet witty. And, of course, very old.
I saw 13th Century French enamel cups that looked like Hobbit houses from the Shire, or Trullo homes from Basilicata. The colors, blue yellow red and gold seduced me, all these years later. (Which was a theme of the day, ancient color alive and vibrant. Makes me rethink the idea of archival pigment inks.) Then, an Ice-Age-Hand-Axe found inside a Roman elephant in 43 AD. Yes, you read that right. It’s since been dated to 400,000 years ago. (I suppose it’s better not to ask how it was found inside an elephant. Perhaps Donald Trump Jr. was responsible.)
Next, a colossal foot, on a pedestal, from Ancient Greece. It reeked of totemic power, like it was crushing down on your throat. Then, a gravestone, in Arabic, from 1032 AD. (Rest in peace, Ali, son of Ahmad.) On to Persian glazed tiles, a Marble Dog Vishnu from Rajasthan, and the most beautiful Chinese porcelain Bodhisattvas I’ve ever seen. Yes, this was all in one gallery in one museum. And, to be clear, I only saw 5% of what was on display in the King’s Gallery. So much human genius, so little time.
Out we went, into another gallery, and I found myself facing icons from the Aztec Empire. Back on familiar terrain, or so I thought, we walked up to a double-headed turquoise snake sculpture, with sharp, dangerous teeth. (Real? Maybe.) Named Nahautl, it was as powerful and scary an object as I’ve seen. I could almost smell the blood in the air, singed as the hearts burned in vats on top of the temples.
On through the Americas, we ended up back where I began. Bending down, I saw a beautiful piece of pottery, from Diego Romero. (Born 1969.) It was from the Cochiti Pueblo, in-between Santa Fe and Albuquerque. Can you believe it? I couldn’t, so I yelled out “Big Ups to Cochiti Pueblo,” and then exclaimed that I might be the only person in London at the time who knew exactly where it was. (Big dam, little lake.) Was I ridiculous? I don’t know, as my fellow museum-goers were too polite to mock me.
Back into the street, we needed a coffee. (Remember, always have some narcotic substance in your bloodstream at all times.) Write this one down. 1.5 blocks from the entrance to the British Museum, there’s a great little spot called the Camera Cafe. Lenses, cameras, espresso, and Chicken Chow Mein, all in one spot. The man making coffee even gave us a free cookie, as we’d only bought one for the two of us, and he thought we’d made a mistake. A must for visiting photographers and Londoners alike.
On to the National Gallery of Art, also free. Hugo led us straight to the Florentine Renaissance paintings, to see Paolo Uccello, in particular, with whom I wasn’t familiar. A huge piece, “The Battle of San Romano,” was a revelation of color and early perspective, which was still working itself out. As such, the background battlers, in the upper corner, looked like something out of a contemporary video game: rendered to keep the eye moving along, but far from the important bits. Uccello also had a dragon painting, from 1470, which made me feel like I was really in England. (Despite its Florentine origins.) It was beautiful, and tame compared to what I saw next. (After some brilliant Fra Angelico pieces, that is.)
We headed for the Dutch galleries, as I always love to see some new Rembrandts when possible. They were there, but less special than what I’ve seen before. So, as I spun, unimpressed, I was shocked by what I faced. Cornelius van Haarlem, in 1588, painted an image of a dragon eating some dude’s face. Mid-chew. Grotesque, gory, and gifted, it stopped me cold.
I looked until I couldn’t look anymore. How have I never seen such a thing before? Nearby, El Greco’s “Christ driving the Traders from the Temple,” stood up to it, though, and wiped the face blood from my RAM.
Yes, it’s time to compare our brains to a computer. We only have so much buffer space, before things don’t stick. They just push each out of the way, and hope to be good enough, or lucky enough, to write to the hard drive of our deep consciousness. That’s why I’m typing this article a full month after I arrived home.
Travel, and art, make our brain work so hard that it’s impossible to know what’s important in the moment. I can’t even remember what most of the buildings looked like, as each new nook of the city pushed out my memory of the one before. So on that note, having already dropped 2300 words on your head, let’s pause for a respite. This London tale will be continued tomorrow.
This project isn’t about making actual images, it’s not about creating the worlds largest camera it’s about doing what you love.
GQ; Interview; National Geographic; Virginia Quarterly Review; Vogue
NEWS AND DOCUMENTARY PHOTOGRAPHY
Harper’s Magazine for “Juvenile Injustice,” October Photographs by Richard Ross
Harper’s Magazine for “Uncertain Exodus,” July Photographs by Ed Ou
National Geographic for “Too Young to Wed,” June Photographs by Stephanie Sinclair
The New York Times Magazine for “From Zero to 104,” September 4 Photographs by Damon Winter
TIME for “Birds of Hope,” January 17 Photographs by James Nachtwey
National Geographic for “Taming the Wild,” March Photographs by Vincent J. Musi
The New York Times Magazine for “Touch of Evil,” December 11 Photographs by Alex Prager
TIME for “Portraits of Resilience,” September 19 Photographs by Marco Grob
Vogue for “Lady Be Good,” March Photographs by Steven Klein
W for “Planet Tilda,” August Photographs by Tim Walker
Congratulations to the photo departments and photographers involved. The rest of the finalists are (here).
The great underlying work of a director of photography is almost always (often quietly and below the surface) educating. Educating editors to appreciate pictures and talking about their best use. Sometimes a simple photograph makes the best statement, while at other times, a complex picture in a carefully orchestrated setting compliments the story telling. In some magazines, that extends to “educating” an art director who holds much power along with the editor.
Who can remember the days of December? Not me. 2012 has been a blur, and I dispute the fact that it’s 1/4 over. (Can’t possibly be true.) It’s all been covered with film, for me, like the skin on a bowl of old chocolate pudding.
Why? That’s easy. As soon as you read this sentence, I’ll be the first lunatic to ever announce his wife’s pregnancy in a book review. It’s a girl, in case you were wondering. Due late Summer, we found out on Christmas Day. How’s that for symbolism?
So now, if you like, you can go back and read all the 2012 columns, looking for hints of latent madness. (The kind that comes from having a vomitorious wife, on top of an energetic 4 year old.) Me, me, me. It’s always about me in these reviews. How about her? Well, Jessie is my best friend, and it was horrible to watch her suffer for our daughter. But now she’s got the glow, and I have a few more months before I succumb to sleep-deprived misery. (Of the temporary variety, thankfully.)
Where were we? Right. December. Not so long ago, I wrote a column about a suite of images I saw at MOPA: the best photos I saw in 2011 that I hadn’t already written about yet. By Rineke Dijkstra. (Not to be confused with Lenny Dijkstra, who’s rotting in prison at the moment.) The column created quite a stir, though I still don’t know why. Apparently, Ms. Dijkstra’s dry style rubs some photographers the wrong way, as her subtle use of color and emotion lacks potency for those accustomed to dead children in redundant photographic pablum.
Now it’s April, and wouldn’t you know it, but Ms. Dijkstra has a nice new monograph out, published by SFMOMA and the Guggenheim Museum. A beautiful byproduct of her career retrospective, bouncing between the two venues. Does the imprimatur of two such esteemed institutions mean that you must now like her work and buy her book? Of course not. But if you know anything about me by now, (beyond my preference for cotton boxers, my father’s health, and the sex of my unborn child,) you know that I had to review this book. Even though we already talked about the artist back when the sun descended before 5pm, and everyone was cold and dour.
Come Spring, we focus on cleaning, renewal. New year, new possibilities. New births. My daughter will be a water dragon, according to the Chinese calendar. My son was a golden pig, which is meant to be auspicious, and that’s worked out pretty well. But a water dragon? I suppose I’ll have to hold on tight.
And for those of you who love Ms. Dijkstra’s work, or have yet to unpack its austere mystery, that’s what it’s all about. Possibility. Change. Growth. Adaptation. And the ineffable. (Which, if it was meant to be obvious, would go by another name.) That’s what becomes clear, at least, when you go through this book page by page.
Children by the sea, each standing in the same position. Minimize the variables, and the differences are all we have left to ponder. A young girl on the street in Odessa in 1993. Where is she going with that sunhat and leather valise. A boy, the next day, in the same place, holding two dolls. What gives? We’ll never know.
Women, naked, holding their newborns, right after birth. The scars reveal who had a Caesarian. Then, Tia, in Amsterdam, three weeks after giving birth, and then 5 months later. Look at the hint of change. Better hair, no circles under her eyes, she looks human in the second image, and slightly sad in the first. (Yes, I know that train is coming, and it has my name on it.)
On to the bullfighters, sure, then Almerisa, a young girl seeking Asylum in the Netherlands in 1994. (The project to which I alluded in the December article, as I saw several images at the Met in 2010.) Ms. Dijkstra carries this one through, and we watch the girl grow, in photographic stages, up through 2008, when she has her own child in the picture. We begin with a scared Bosnian girl, tiny, and end with an acculturated mother. Along the way, we get to see her legs grow, first hanging off the chair, then touching the ground. We see girlhood go by, and exhaustion set in. All the while, she’s sitting on a chair. Minimizing variables.
The book goes on to show some video stills, which of course don’t translate well in book format. I wonder, why do people keep trying? Then, soldiers being militarized, including our friend Olivier Silva. I’ll spare you the photos this time, so as not to arouse the vile anger of some of our less-than-polite readers.
Is it a great book? A work of art, as those London publishers would have us crave? Probably not. A bit too straightforward, and the cardboard cover could certainly be better. But it does give a fair accounting of a great artist. The plates are super-well-printed, and her ideas come through. So if you’re a fan, this would be a good book to have. If not, buy something else.
Bottom Line: Solid monograph from an important artist
Full Disclosure: Books are provided by Photo-Eye in exchange for links back for purchase.
Books are found in the bookstore and submissions are not accepted.
Virtually every letter to readers justifying a paywall and industry quote from publishers talk about The New York Times metered model. When you have 33 million unique monthly visitors and high value content that model almost works. The Times has been very vocal about saying that it is a holistic digital strategy that focuses on all their digital platforms. Even at 390,000 digital subscribers they understand that they have a way to go to close the revenue gap and create a sustainable business model. I’ve been in meetings where NYT executives caution that what works for The Times rarely works anywhere else.
If there is anything that is shocking to me about the subject at this point, it’s that the visual censorship of these wars has been so absolute that many today actually fail to understand why such scenes would even be important or relevant to see.
Read More Here: BagNews.
Still Images In Great Advertising, is a column where Suzanne Sease discovers great advertising images and then speaks with the photographers about it.
Cade Martin has been a long time client of mine (full disclosure) and I have seen incredible growth in his work. When we first worked together, I asked him to include an amazing series on Mexican farm workers as his personal work. This body of work got the attention of Pum Lefebure of Design Army. She is the inspiration behind the Washington Ballet campaign, which resulted in this work for Neenah Paper. Cade’s work was recently on the call for entries to The One Show which was sent to every creative person in the industry. How is that for free advertising?
Suzanne: These images have a great style to them, how did you create them? What was the concept behind these images and how were you a part of the creative process?
Cade: The project was for Neenah Paper and it was basically a redesign and relaunch of their Classic Papers Brands. We were asked to create imagery for a series of paper swatch books that would each showcase a different product. As far as approach, we pretty much had creative freedom. The only thing we knew we wanted was to find locations that had textures that would marry well with the surfaces of each of books. As all of our projects, it was a collaborative process where we had meetings, conference calls & mood boards. I scouted locations and sketches were created off places we liked. We had a great team of stylists & crew but I was pretty much left alone as far as the overall look & feel of the images.
Suzanne: The beauty of a campaign like this for a paper company is they are sending your images out as a direct mailer. What kind of increase in attention to work have you seen?
Cade: One of the great things about this campaign is that it’s targeting creatives – art directors and creative directors – who are the people who use Neenah Paper for the most part. The swatch books don’t ever seem to be thrown out and are held onto as reference material so the visibility seems to be large as well as long term.
Cade Martin is an award-winning photographer for advertising, corporate, and fashion clients worldwide who specializes in people and location photography. He is represented by Greenhouse Reps in the US.