Search results for ""Author Susan Meiselas""

This exhaustive monograph of Susan Meiselas will be released in occasion of the retrospective that will take place at Tàpies Foundation in Barcelone, Jeu de Paume in Paris and SFMOMA in San Francisco. Mediations is published by Damiani/Jeu de Paume/Fondation Tàpies. This exhibition and monograph propose a selection of works from the 1970s to today which reveal the particular approach of Susan Meiselas toward to the underlying reasons for making photographs, how the image concerns it’s subject as much as the photographer and the role that these images can have at different levels in society and particularly in photojournalism. She questions the relationship between the image and the subject in such a way as to include the people portrayed in the image in the process of the making. There is nothing systematic in her approach: each work expresses in a very strong manner that context is vital to the understanding of photography. Therefore her work is specific to the persons portrayed, to the notion of community to which they belong and to the locality of the geographic and political territories that the artist addresses. The way of the showing the work is equally a part of the thought process. How does the spectator behold the artwork? It is often comprised of many parts, made in different media: each “layer” is used to document a level of meaning. For Meiselas one should be able to grasp why the image was taken. Both the subject of the image and the context in which the images are shown are taken into account in the elaboration of each project.

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Compiled by Magnum photojournalist Susan Meiselas, Eyes Open is a sourcebook of photography ideas for kids—to engage with the world through the camera. Twenty-three enticing projects help inspire a process of discovery and new ways of telling stories and animating ideas. Eyes Open features photographs by young people from around the globe, as well as work by professional artists that demonstrates how a simple idea can be expanded. Playful and meaningful, this book is for young would-be photographers and those interested in expressing themselves creatively.

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This landmark book offers a synthesis of celebrated Magnum photographer Susan Meiselas’s views on her work and the role of the documentary photographer. Through text drawn largely from exclusive interviews with editor Mark Holborn, she offers a remarkable commentary on her career, from early work with carnival strippers, through groundbreaking reportage on Nicaragua and El Salvador, to projects encompassing subjects as varied as the Dani tribe of Indonesia, the Kurds of Northern Iraq and victims of domestic violence in California. Central to Meiselas’s work are themes of collaboration, return and exchange. With over 110 photographs – some classics, others rarely published – this book demonstrates how the frontline on which Meiselas has worked involves a bearing of witness and a gathering of evidence. As Meiselas has stated: ‘To continue on is to be curious – to be compelled to confront, to examine, to expose, to engage, and not know where you will end up or how the journey will change you. The frontline is always a choice.’

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In 2012, the Eastman Kodak Company declared bankruptcy. That same year, a group of ten photographers from Magnum Photos—Jim Goldberg, Bruce Gilden, Susan Meiselas, Martin Parr, Paolo Pellegrin, Alessandra Sanguinetti, Alec Soth, Larry Towell, Alex Webb, and Donovan Wylie, plus Chien-Chi Chang, who documented the process in audio and video—established a temporary base of operations in Rochester, New York, former home to the once-dominant manufacturer of photographic film. Their goal: to create both a documentary archive of that city’s culture and landscape, and a photo-based experience engaging its residents; and to investigate a community of picture-makers comprised not only of Eastman Kodak, but also the Visual Studies Workshop, George Eastman House, Rochester Institute of Technology, and the citizens of Rochester. Over the course of almost three weeks, photographers, students, faculty, and residents worked together to create a visual record of the city and its people at a time of significant transition. Nathan Lyons, founding director of the Visual Studies Workshop, describes the result as “not only a major documentary project, but a celebration of photography within the city that had for years been a center of imaging technologies.” Upon arrival in Rochester, Martin Parr gave each photographer the task of assembling one hundred photographs to form the basis of an archive. Rochester 585/716 presents all one thousand images, together with commentary by poets Cornelius Eady and Marie Howe, art historian and photo theorist Laura Wexler, and photographer and educator Nathan Lyons. Five sets of the images were printed as a portfolio, each of which now resides in major private and public collections. Two artist proof sets were also created, one of which will be dispersed via the one thousand copies of this publication. Each individual copy contains a single loose print, selected at random from this additional set.

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A new, revolutionary history of photography from a stellar team of writers and thinkers that challenges all existing narratives by focusing on the complex collaborations between photographer and subject. Collaboration presents a groundbreaking and multifaceted history of photography which explores photography through the lens of collaboration, challenging the dominant narratives around photographic history and authorship. In a vast, collaborative effort led by five of the great thinkers and practitioners in photography that includes more than 550 photographs and over 80 text contributors, this book breaks apart photography’s ‘single creator’ tradition by bringing to light tangible traces of collaboration – the various relationships, exchanges and interactions which occur between all participants in the event of photography. This book will provide the keys to understanding and decoding the complex politics of seeing. The conditions of collaboration in photography are explored through over 100 photography projects, divided into eight thematic chapters. The photographs from each project are presented non-hierarchically alongside quotes, testimonies, and short texts by guest contributors. These networks of texts and images provide perspective on a vast array of photographic themes, from Araki’s provocative portraits of women to archival files from the Spanish Civil War. Collaboration is not an ultimate account of what photography is, does, or means. Rather, the book is an inspiration for teaching and an open invitation to scholars, activists, photographers and others to practice always with and alongside others and participate actively in this engagement and enquiry.

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In the mid-1970s in the United States as feminism gained huge momentum, three American photographers Eve Arnold, Abigail Heyman and Susan Meiselas published books of a new kind. Combining testimonies and images, they offer very original documentaries of women at work, their daily routines and their private lives. The trio brought their own style and experimented with the book format while showing women in a new light through photography. Their work sidestepped clichés to create alternative representations.This catalogue reveals their unusual approach to their works. The first, Growing Up Female by Abigail Heyman, published in 1974, is a kind of feminist personal diary. The photographer casts a lucid eye at her own life and questions the imprisonment of women in stereotype roles. The second, The Unretouched Woman, published by Eve Arnold in 1976, shows unknown women and celebrities in unexpected moments of their daily lives. The photos were deliberately not retouched or staged and, through them, the photographer offers a heteroclite and nuanced vision of women far from the glamour of glossy magazines. The third, Carnival Strippers, published in the same year by Susan Meiselas, is the fruit of three years of investigation into fairground striptease sideshows in the north-east of the United States. Through the performers’ long testimonies, the book gives a voice to its silent subjects, depicting their work, their dreams and their ambitions.The images provide an original perspective of female bodies, revealing their invisible make-up artistry and the staging involved behind their public appearances. In doing so it reveals a surprising, previously unseen glimpse into their sometimes prosaic, sometimes harsh private lives. It also reveals the social conventions and norms defining the status of women in society, within couples or within the domestic space to reveal working women, striving for independence and freedom.

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