Highbrow Magazine - photography https://www.highbrowmagazine.com/photography en Avedon’s Centenary at the Met: Monumental Photomurals Take the Stage https://www.highbrowmagazine.com/23520-avedon-s-centenary-met-monumental-photomurals-take-stage <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 04/05/2023 - 10:53</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/avedon.jpg?itok=DXGJC8jk"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/avedon.jpg?itok=DXGJC8jk" width="360" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The first thing I noticed when entering the Metropolitan Museum of Art’s current show, <strong>Richard Avedon: MURALS,</strong> is the size of his subjects. Three monumental panels accost the eyes. Architects of the Vietnam War, their anti-war protestors, and members of Andy Warhol’s Factory surround the viewer, alternately imperious, engaging, indifferent, and in some instances, titillating in their nakedness.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">For those of us who cut our teeth on the big screen, all we have to do is conjure cinema’s heroes and heroines of yesteryear—Greta Garbo, John Wayne, Cary Grant, Sophia Loren, Audrey Hepburn—to realize their exaggerated place in the stratosphere of our imaginations. For Richard Avedon, capturing celebrity through his lens was second nature, so it’s fitting that such larger-than-life portrait stills and murals, the longest 35 feet, became an elemental part of his career.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">There is no hierarchy of size on display here. The 10-foot-high likes of Vietnam-era Ambassador Ellsworth Bunker, 60s activist Abbie Hoffman, and drag superstar Candy Darling all stare down at the viewer from their separate frieze collectives to dizzying effect. Where to look first?  One’s eyes bounce from one line-up to the next, the stark white walls accentuating the power of these black-and-white giants.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This was no easy task. To achieve the desired effect, Avedon put his hand-held Rolleiflex aside for a tripod-mounted Deardorff 8x10 field camera. Quite a switch.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/1avedon.jpg" style="height:480px; width:600px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Andy Warhol and members of The Factory, New York, October 30, 1969  </em></strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">This is the most wickedly playful of the three panels—a group tableau created at Warhol’s Factory over a period of months, with several outtakes on display over the span. A careful study on the left reveals filmmaker Paul Morrissey possessively placing his hand on the shoulder of the naked Joe Dellesandro and to the far right, Warhol positioned with his now clothed protegee behind him. In between these pictorial bookends, the Factory cast is assembled off-handedly, with the standout image a trio of naked male actors, coyly enacting Warhol’s version of Ruben’s <em>Three Graces</em>.  Even a casual glimpse reveals the nude and strikingly alluring Candy Darling with her own penis on display—still a disorienting image to this day.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It’s interesting to note that Avedon has said his photographs don’t go below the surface; that the stripping of clothes doesn’t bring the onlooker closer to anything.  “I have great faith in surfaces. A good one is full of clues.” </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2avedon.jpg" style="height:367px; width:656px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>The Chicago Seven, Chicago, November 5, 1969</em></strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">These radical anti-Vietnam protestors face Avedon’s lens with all the vulnerability and uncertainty you might expect from a police line-up. The exception may be Abbie Hoffman, the most charismatic of the group. With his bad-boy locks, caught with his eyes shut, he seems impervious to the moment.  Conversely, Tom Hayden appears like the abject adolescent whose hand was just caught in the cookie jar.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It's understandable Avedon chose to immortalize this group on such a scale.  Their combined actions and counter-culture visibility epitomized the anger of the times. And their indictment was the result of the newly passed Civil Rights Act of 1968, which made it a federal crime to cross state lines with the intent to cause a riot. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3avedon.jpg" style="height:239px; width:650px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>The Mission Council, Saigon, South Vietnam, April 28, 1971</em></strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Avedon flew to Saigon at his own expense to photograph the ambassadors and counselors of the Vietnam conflict. It could have been a thankless undertaking, with but a few minutes to capture this crusty and expressionless lot. But posing General Creighton W. Adams front and center, the only one wearing  a uniform, speaks volumes.  Flanked by these grim, grey-suited columns of corporate authority, Adams was known as the general who replaced a ”search and destroy” agenda with “clean and hold.”  One can only imagine what a perfect subject Ukraine’s current champion president of his people would have been for the photographer.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">On the centenary of the photographer’s birth, it’s worth taking a look at the man behind the camera along with his myriad of accomplishments. Little wonder that many still think of him as the consummate celebrity photographer.  After an early stint at <em>Harper’s Bazaar</em>, followed by over 20 years at <em>Vogue</em>, he became the first staff photographer of the <em>New Yorker</em>, where his style of portraiture helped redefine the look of the magazine.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Even if Avedon’s beginnings in the Bronx were within breathing distance of the Big City lights, it wasn’t until he joined a Young Men’s Hebrew Association (YMHA) camera club at the age of 12 that photography entered his mind. Then WWII happened and he was assigned the role of Photographer’s Mate Second Class. “My job was to identity photographs. I must have taken pictures of one hundred thousand faces before it occurred to me, I was becoming a photographer."</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Such exposure to the face of war and its human costs, left an indelible impression. Certainly, many of his projects reflect a heightened social consciousness. His extensive work during the Civil Rights Movement, the <em>Rolling Stone</em> collective portrait, <em>The Family</em>—a closeup of the American power elite at the time of the 1976 Bicentennial—and the poignant study of his father Jacob Israel Avedon, have passed the test of time.  Major museum retrospectives have followed. The Museum of Modern Art mounted an in-depth examination in 1974 and the Metropolitan Museum of Art presented two important exhibitions in 1978 and 2002.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The art of Richard Avedon is set in countless silver gelatin prints for the world to see.  But what <em>do</em> we see exactly and how do we process it?  He has said that the camera lies all the time. But does it?  Any artist chooses what they want to write about or paint. The photographer chooses the moment. And in Avedon’s case, he’s left us the clues.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">All we must do is look carefully. And if we’re lucky, perhaps truth will emerge.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Richard Avedon, MURALS runs through October 1, 2023, at the Metropolitan Museum of Art in New York City.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>For Highbrow Magazine</strong></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Image Sources:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Metropolitan Museum of Art</em></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>--Max Kiesler (</em><a href="https://www.flickr.com/photos/maxkiesler/4033383533" style="color:blue; text-decoration:underline"><em>Flickr</em></a><em>, Creative Commons)</em></span></span></p> <p> </p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/richard-avedon" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">richard avedon</a></div><div class="field-item odd" rel="dc:subject"><a href="/met" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the met</a></div><div class="field-item even" rel="dc:subject"><a href="/metropolitan-museum-art-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">metropolitan museum of art</a></div><div class="field-item odd" rel="dc:subject"><a href="/avedon-show" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">avedon show</a></div><div class="field-item even" rel="dc:subject"><a href="/new-york-art-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new york art exhibits</a></div><div class="field-item odd" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item even" rel="dc:subject"><a href="/abbie-hoffman" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">abbie hoffman</a></div><div class="field-item odd" rel="dc:subject"><a href="/chicago-7" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">chicago 7</a></div><div class="field-item even" rel="dc:subject"><a href="/andy-warhol" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Andy Warhol</a></div><div class="field-item odd" rel="dc:subject"><a href="/factory" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the factory</a></div><div class="field-item even" rel="dc:subject"><a href="/modern-photographs" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">modern photographs</a></div><div class="field-item odd" rel="dc:subject"><a href="/portrait-photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">portrait photography</a></div><div class="field-item even" rel="dc:subject"><a href="/candy-darling" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">candy darling</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Wed, 05 Apr 2023 14:53:11 +0000 tara 11783 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/23520-avedon-s-centenary-met-monumental-photomurals-take-stage#comments Tabitha Soren Showcases Photography Series in Solo Exhibit https://www.highbrowmagazine.com/21656-tabitha-soren-showcases-photography-series-solo-exhibit <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 09/21/2022 - 10:20</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1soren.jpg?itok=Z0Jmcftn"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1soren.jpg?itok=Z0Jmcftn" width="480" height="320" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Jackson Fine Art</strong> is now featuring photographer <strong>Tabitha Soren</strong> with a solo exhibition of three of the artist’s most celebrated series — <strong><em>Running </em></strong>(2011 – 2014), <strong><em>Surface Tension</em></strong> (2013 – 2021), and <strong><em>Relief, </em></strong>an ongoing project that will be making its world premiere at the gallery. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">A visual artist in different domains for over 25 years, Soren has long explored the intersection of psychology, culture, politics, and the body. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">A former reporter for MTV News, ABC News, and NBC News, Soren begins each new series using the methodical investigative tools she used during her time in journalism. Books, research studies, and statistics lay a necessary analytical foundation for the visual ideas she communicates. These data points then merge with her experiences growing up in a military family, spending her youth moving around the world and adjusting to the cultural differences, social structures, and visual cues that came with each relocation.</span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">A through-line connects the three bodies of work in Jackson Fine Art’s show, evoking the universal paranoia and contemplation of our historical moment. In <strong><em>Running</em></strong>, the earliest of the exhibited series, Soren photographs archetypal figures ambiguously captured in the act of arrival or flight, often in desolate urban landscapes. Though the series ended in 2014, their isolation recalls the quiet dread of the early days of the pandemic and presages an uncertain future. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2soren.jpg" style="height:467px; width:651px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">For <strong><em>Surface Tension</em></strong><em>, </em>which she began in 2014, Soren shines light on a dirty iPad screen, capturing and reimagining the found images underneath with her 8x10 film camera. The resulting body of work, titled with source file names and URLs investigates modern technological mediation, the collision of our human bodies with what Jia Tolentino calls in <em>The New Yorker</em> the “cold and infinite knowledge of the world.” In addition to the exhibition at Jackson Fine Art, <em>Surface Tension</em> has received widespread attention in the press and by museums and is currently on view in four museum exhibitions internationally. A monograph (<em>Surface Tension</em>) was published by RVB Books in September of 2021. </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Finally, <strong><em>Relief</em> </strong>— on view exclusively for the first time — returns to an interest in the overtly tactile, a reaction to the all-encompassing submersion into the digital that <em>Surface Tension</em> required of the artist (and viewer). Soren manipulates beautiful landscapes and formal portraits by cutting, bending, burning, blasting, or shooting the paper they are printed on, removing the screen as interlocutor between hand and image and closing the circle that began with <em>Running </em>by similarly suggesting a future that might closely resemble the past.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3soren.jpg" style="height:489px; width:652px" typeof="foaf:Image" /></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4soren.jpg" style="height:662px; width:497px" typeof="foaf:Image" /></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5soren.jpg" style="height:654px; width:492px" typeof="foaf:Image" /></p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6soren.jpg" style="height:490px; width:652px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine       </strong></span></span></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/tabitha-soren" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">tabitha soren</a></div><div class="field-item odd" rel="dc:subject"><a href="/jackson-fine-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jackson fine art</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/photos" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photos</a></div><div class="field-item even" rel="dc:subject"><a href="/artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">artists</a></div><div class="field-item odd" rel="dc:subject"><a href="/photography-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography exhibits</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of Jackson Fine Art</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Wed, 21 Sep 2022 14:20:08 +0000 tara 11341 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/21656-tabitha-soren-showcases-photography-series-solo-exhibit#comments A Love Letter to the American Southwest https://www.highbrowmagazine.com/19727-love-letter-american-southwest <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Wed, 03/30/2022 - 17:30</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1westernskies.jpg?itok=sZicRIKG"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1westernskies.jpg?itok=sZicRIKG" width="392" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em>Western Skies </em>started with the photographs, all of them taken with an old Polaroid camera resurrected from a box in my garage sometime in the summer of 2020. I don’t think of myself as a photographer, but I sure like to take pictures. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The idea of using such an outdated way of capturing images struck me as the perfect antidote to the hectic digital nature of these times. My usual way of working was to see something, stop the car, take the photo then immediately get back in and drive off, letting it develop in a box on the front seat as the miles clicked over. I had one shot, maybe two, for each idea and there were many, many mistakes. Part of the joy was the randomness of it, and having almost zero control over how the image came out. It’s kind of a ridiculous and expensive way to work. Each shot cost about as much as a good espresso, so that became my calculator: Was this picture worth a coffee? If <em>not</em>, I’d just walk away. After a time, I found myself not taking almost as many photos as I did. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">The songs came together as the months of the pandemic wore on. Some are new, others were older pieces of things that I reworked. Both “Los Angeles” and “Western Skies” were based on lyrics that had been hiding in my piano bench for a decade or so. The essays began as a collection of random thoughts and observations scribbled in a notebook during my travels. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2westernskies.jpg" style="height:616px; width:506px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">It was only during a three-day recording session at Sonic Ranch in Tornillo, Texas, with just myself and an engineer, Mario Ramirez, that I could see how the project worked as a whole. It occurred to me as I was standing outside watching the dusk settle on the pecan groves surrounding the studio on the last night of recording that the three parts hung together as one. And it was a book. With music. Before that, it was just a bunch of songs, a box of photos, and a notebook. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Texas, and the American Southwest in general, is a big, beautiful place. There’s a lot to love about it. And then there’s the other part, which makes me shake my head in wonder. <em>Western Skies </em>isn’t “about” anywhere in particular. It’s a love song to the mythology of Texas. Not the heroic, Wild West version, but the one that lives only in my head. I’ve spent a long time looking at it, and thankfully, I wrote a few things down. </span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3westernskies.jpg" style="height:617px; width:507px" typeof="foaf:Image" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4westernskies.jpg" style="height:610px; width:500px" typeof="foaf:Image" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5westermskies.jpg" style="height:620px; width:510px" typeof="foaf:Image" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6westernskies.jpg" style="height:612px; width:500px" typeof="foaf:Image" /></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>© 2022 by Darden Smith / Bull By The Horns. Permission has been granted to use these images. </strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Additional Cover Image:</strong> <em><a href="https://www.pexels.com/photo/landscape-nature-sky-sunset-51373/" style="color:#0563c1; text-decoration:underline">Pixabay</a> (Creative Commons).</em></span></span><br />  </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><em><strong>For additional information or to purchase <a href="https://www.amazon.com/Western-Skies-Darden-Smith/dp/1947297422/ref=sr_1_1?crid=2CXI0UZPDV22B&amp;keywords=darden+smith+western+skies&amp;qid=1648674485&amp;sprefix=darden+smith+west%2Caps%2C56&amp;sr=8-1" style="color:#0563c1; text-decoration:underline">Western Skies</a>, visit DardenSmith.com.</strong></em></span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Highbrow Magazine</strong></span></span></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/western-skies" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">western skies</a></div><div class="field-item odd" rel="dc:subject"><a href="/darden-smith" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Darden Smith</a></div><div class="field-item even" rel="dc:subject"><a href="/texas" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Texas</a></div><div class="field-item odd" rel="dc:subject"><a href="/american-southwest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">American Southwest</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-books" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new books</a></div><div class="field-item even" rel="dc:subject"><a href="/photo-books" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photo books</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Darden Smith</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">Darden Smith</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">In Slider</div></div></div> Wed, 30 Mar 2022 21:30:04 +0000 tara 11010 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/19727-love-letter-american-southwest#comments Deana Lawson at the Guggenheim – The Black Lens Transformed https://www.highbrowmagazine.com/12400-deana-lawson-guggenheim-black-lens-transformed <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Fri, 07/16/2021 - 10:53</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1lawsonshow.jpg?itok=LYj-acjs"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1lawsonshow.jpg?itok=LYj-acjs" width="480" height="380" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p><strong><span style="font-size:16px">--<span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">Deana Lawson, <em>Chief</em>, 2019</span></span></span></strong></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">“Art is the lie that enables us to see the truth.” The quote is by Pablo Picasso, but the photographer that personifies the philosophy is Deana Lawson. The 2020 winner of the prestigious Hugo Boss prize—the first photographer to be so honored—is turning perceptions of what it means to be Black on its head in her current show, “Centropy” at the Guggenheim Museum.  But how does she do it?  And how do we see it?</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">As the viewer moves from one gigantic pigment portrait to another, the eyes are drawn to her subjects as if by a gravitational pull. There’s nothing apologetic or submissive or even wary in these Black faces. In each domestic environment, they simply exist, in command of their surroundings. They don’t invite you in, but once you’re inside, there seems to be a mutual acceptance of your presence as a witness. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Make no mistake. Lawson is a conjurer—she has staged her moments, often with strangers, to startling effect. The rugs, curtains, carpets, religious icons, gold crowns, baby bottles and dollar bills are all, whether serendipitously found or improvised, <em>props</em>.  The intimacy she creates, however, emerges as some version of the truth. It’s not surprising that visitors linger or come back, more than once or even twice, to see if what they see is real. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In a May 9<sup>th</sup> <em>New York Times</em> profile by Jenna Wortham, Lawson seems to justify her approach. “I’m giving an image that I do want you to believe; that is real—it is real, to me, in this moment, and I don’t want that to be minimized because the believability is important.”</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In <em>Monella Passing</em>, a seated man slouches next to the corpse of a woman who is laid out, her fingers elegantly splayed out in her netted gloves, eyes shut. I was struck by the word “passing” in the title.This is a transitory moment, with Lawson’s subject suspended somewhere between life and death. In <em>Latifah’s Wedding</em>, the bride’s veil is showered with bills, her husband’s suitcoat similarly covered, while a wedding guest sits with her plate nearby, indifferent to this display. A little costumed girl stands proudly on her bed, her face obscured by strings of beads, a complicit grandmother at her side, in <em>An Ode to Yemaja</em>. It smacks of ritual, of secrecy, but the photographer offers no explanation.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2lawsonshow.jpg" style="height:600px; width:474px" typeof="foaf:Image" /></p> <p><strong><span style="font-size:16px"><span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">--Deana Lawson, <em>Young Grandmother</em>, 2019</span></span></span></strong></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Perhaps the most intriguing portrayal of Black women is <em>Axis</em>, the three naked, entwined on a dark floral rug, their adornments, from heart tattoos to sequined nails on display. There is a classic beauty at play here, in opposition to their 19<sup>th</sup> century photographic counterparts, when images of Black females were synonymous with a libidinous and deviant underworld.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Not all portraiture on display is indicative of otherworldly realms or the overlay of cultures in the Black diaspora. Some are simply direct and riveting in their domestic reality as <em>Barrington and Father</em>. Two generations in stark relief pose triumphantly before us. The elder is a prototype of the urban gentleman, straw hat in hand, spats to match, a brown polka-dot tie to finish off the effect. His son conversely, is gold chained, bare chested, tattoos sporting among other signs, an Indian avatar. There’s no mystery here.  </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Yet the importance of ritual and the search for a deeper meaning in existence is a major component in Lawson’s oeuvre. Tucked into one corner of the exhibit are three selenite crystal wands, selenite symbolizing the protective properties of a healing goddess. In another corner, rose crystal tiles are interspersed with snapshots from the artist’s stable of friends and family. </span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">In recent years, Lawson has admitted to creating environments for the work itself, in order to allow for the reflection “of both looking and being looked at” she desires from her audience. Her portraits are framed in mirrored glass, so that standing at a certain angle in front of a portrait one confronts the self. Where holograms in the portraiture are embedded, does it detract or enhance the overall effect?  It’s hard to say.</span></span></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3lawsonshow.jpg" style="height:600px; width:471px" typeof="foaf:Image" /></p> <p><strong><span style="font-size:16px"><span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">--Deana Lawson, <em>Barrington and Father</em>, 2021</span></span></span></strong></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Traversing the clean rectangular space, another oval-shaped hologram is placed on a pedestal, reminiscent in feeling if not similarity to the monolith found by space travelers in Stanley Kubrick’s spectacle <em>2001</em>. On closer inspection, two concave eyes seem to peer out from the interior. Another surprising instance, <em>Dana and Sirius B</em> is an image of a night sky, in which the eponymous star is nearly eclipsed by its sister, Sirius A, the brightest star in the firmament. (Dana is the name of Lawson’s twin sister.)</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Born in Rochester, New York, in 1979, Lawson grew up sitting for family portraits. The Kodak empire was rooted in her hometown, with her mother finding administrative work there and her grandmother cleaning house for the founder George Eastman.The camera and its innate power to conjure images obviously worked its magic on her. And hers is an impressive, almost meteroric climb to prominence in the photographic universe. The name of the exhibit, “Centropy” refers to a thermodynamic term meaning a gathering or coalescing of energies into a natural order.</span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif">Such an ambitious search is not foreign to an artist of Lawson’s caliber. Sometimes with maturity comes a recognition of the power in simplicity itself. The most memorable takeaway in this exhibit is in the transformative power of her portraiture. There are subjects here that form their own supernovae and they give a lovely light.  </span></span></p> <p> </p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong>Author Bio:</strong></span></span></p> <p><span style="font-size:18px"><span style="font-family:Times New Roman,Times,serif"><strong><em>Sandra Bertrand is</em> Highbrow Magazine’s <em>chief art critic.</em></strong></span></span></p> <p> </p> <p><span style="font-size:18px"><strong>--All images: Copyright <span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">© Deana Lawson</span></span></strong></span></p> <p><span style="font-size:18px"><strong><span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">(1) Deana Lawson, <em>Chief</em>, 2019</span></span></strong></span></p> <p><span style="font-size:18px"><strong><span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">(2) Deana Lawson, <em>Young Grandmother</em>, 2019</span></span></strong></span></p> <p><span style="font-size:18px"><strong><span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">(3) Deana Lawson, <em>Barrington and Father</em>, 2021</span></span></strong></span></p> <p> </p> <p><span style="font-size:18px"><strong><span style="font-family:&quot;Times New Roman&quot;,serif"><span style="font-family:&quot;Calibri&quot;,sans-serif">For Highbrow Magazine</span></span></strong></span></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/deana-lawson" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">deana lawson</a></div><div class="field-item odd" rel="dc:subject"><a href="/guggeneheim" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">the guggeneheim</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art</a></div><div class="field-item even" rel="dc:subject"><a href="/black-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">black artists</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporarty-photographers" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">contemporarty photographers</a></div><div class="field-item even" rel="dc:subject"><a href="/black-photographers" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">black photographers</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of The Guggenheim--Coyright Deana Lawson</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 16 Jul 2021 14:53:42 +0000 tara 10512 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/12400-deana-lawson-guggenheim-black-lens-transformed#comments L.A. Artist Castro Frank Presents New ‘Ethereal’ Photographs https://www.highbrowmagazine.com/12092-la-artist-castro-frank-presents-new-ethereal-photographs <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Fri, 06/04/2021 - 09:35</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1cfrank.jpg?itok=m7qt9Uzn"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1cfrank.jpg?itok=m7qt9Uzn" width="400" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>Los Angeles-based artist Castro Frank presents his first collection of abstract photography titled “Ethereal.”</p> <p> </p> <p>Frank’s approach to street photography delves deep into exploring psychological and emotional states of mind. Through his inaugural set of works on analog 35mm film, his textured abstract photographs immerse the viewer into rich colors induced by light exposures.</p> <p> </p> <p>​Each individual image has a distinct association, a thought, an emotion.</p> <p> </p> <p>"2020 was a tough year for us all, and I am grateful that amid the midst of chaos and uncertainty, I was able to create a new body of work that is a reflection of myself and the emotions I lived through," says Castro,</p> <p> </p> <p>Frank’s art has been exhibited in numerous solo and group exhibitions across California, including South Grand, Rvcc Gallery, Communion Gallery, and Embed Gallery. The popularity of his work led to commissions from musicians as well as television networks utilizing his work in their stage design. His work has also been featured in large public installations and charity campaigns with nonprofit organizations, such as INCLUSIVACTION, to benefit the Los Angeles community.</p> <p> </p> <p><strong><em>For more information, visit </em></strong><a href="https://www.castrofrank.com/" style="color:#0563c1; text-decoration:underline"><strong><em>CastroFrank.com</em></strong></a><strong><em>.</em></strong></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2cfrank.jpg" style="height:600px; width:450px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3cfrank.jpg" style="height:600px; width:450px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4cfrank.jpg" style="height:600px; width:450px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5cfrank.jpg" style="height:600px; width:450px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6cfrank.jpg" style="height:600px; width:450px" /></p> <p> </p> <p><strong>Highbrow Magazine</strong></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/castro-frank" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">castro frank</a></div><div class="field-item odd" rel="dc:subject"><a href="/contemporary-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Contemporary art</a></div><div class="field-item even" rel="dc:subject"><a href="/artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">artists</a></div><div class="field-item odd" rel="dc:subject"><a href="/los-angeles-artists" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">los angeles artists</a></div><div class="field-item even" rel="dc:subject"><a href="/art-galleries" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">art galleries</a></div><div class="field-item odd" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item even" rel="dc:subject"><a href="/photographs" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photographs</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 04 Jun 2021 13:35:56 +0000 tara 10395 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/12092-la-artist-castro-frank-presents-new-ethereal-photographs#comments Photographer Erik Madigan Heck Turns His Focus Inward in Intimate New Series https://www.highbrowmagazine.com/11076-photographer-erik-madigan-heck-turns-his-focus-inward-intimate-new-series <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 12/03/2020 - 09:57</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1erikmadigan.jpg?itok=AWVXJr7a"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1erikmadigan.jpg?itok=AWVXJr7a" width="480" height="322" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>Jackson Fine Art is currently featuring an exhibition of new works by Erik Madigan Heck from his new series and accompanying monograph<em>, The Garden</em>.</p> <p>This is the gallery’s second solo exhibition of Heck’s painterly large-scale photographs, following 2018’s <em>Old Future</em>.</p> <p>For <em>The Garden</em>, Heck’s focus turns inward, photographing his family and studies of the idyllic landscape surrounding their home.</p> <p>Composed over a five-year period, the series explores the birth of the photographer’s two sons and the passing of his beloved mother, juxtaposing these hyperpersonal works with more purely aesthetic pursuits -- explosions of vibrant color and re-imaginings of classical landscapes.</p> <p><strong><em>For more information about the exhibit, visit </em></strong><a href="https://www.jacksonfineart.com/" style="color:#0563c1; text-decoration:underline"><strong><em>Jackson Fine Art</em></strong></a><strong><em>.</em></strong></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2erikmadigan.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3erikmadigan.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4erikmadigan.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5erikmadigan.jpg" style="height:405px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6erikmadigan.jpg" style="height:600px; width:442px" /></p> <p> </p> <p><strong>Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/erik-madigan-heck" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Erik Madigan Heck</a></div><div class="field-item odd" rel="dc:subject"><a href="/jackson-fine-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jackson fine art</a></div><div class="field-item even" rel="dc:subject"><a href="/garden" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">The Garden</a></div><div class="field-item odd" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item even" rel="dc:subject"><a href="/american-photographers" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">american photographers</a></div><div class="field-item odd" rel="dc:subject"><a href="/photo-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photo exhibits</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of Erik Madigan Heck and Jackson Fine Art</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Thu, 03 Dec 2020 14:57:05 +0000 tara 10023 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/11076-photographer-erik-madigan-heck-turns-his-focus-inward-intimate-new-series#comments A Photographer Explores Facets of American Identity https://www.highbrowmagazine.com/11053-photographer-explores-facets-american-identity <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Tue, 11/24/2020 - 11:20</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1stephenmarc.jpg?itok=HZeKtgad"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1stephenmarc.jpg?itok=HZeKtgad" width="320" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>The recently published book<em> American / True Colors</em> (GTF Publishing) is an exploration—from coast to coast—of who we are as Americans. Photographer Stephen Marc captures American identity and sense of place -- from the perspective of a baby-boomer African-American documentary/ street photographer.</p> <p> </p> <p>Marc shows the rich gestures of a new American culture that are performed, displayed, and exchanged every day, representing hot issues such as immigration, gender identity, civil and women’s rights, cultural diversity, patriotism, community and police violence, sports and play, and popular culture.</p> <p> </p> <p>As the United States becomes more demographically and culturally diverse, Americans simultaneously celebrate and are haunted by the nation’s past. This is a critical period of social-media distractions and political divisions reminiscent of the turbulent 1950s and 1960s, and Marc’s photos straddle the presidencies of Barrack Obama and Donald Trump.</p> <p> </p> <p>It has been decades since photographers Walker Evans, Robert Frank, Henri Cartier-Bresson, Garry Winogrand, and others embarked on trips to depict a nation undergoing great change.  <em>American / True Colors</em> presents a similar journey: It is at once an homage, update, critical response, and expanded vision of those earlier pioneering projects. By comparison, as an African-American man, Marc’s perspective and relationship to the nation’s fabric is very different; his photos show how there has been a major shift in how Americans both acknowledge and refute, embrace and reject the emerging diversity. As Marc suggests, America may not have reached the “post-racial era” that many people have hoped for, as the nation navigates the conundrums of coexistence.</p> <p> </p> <p>Stephen Marc is a documentary/street photographer and digital montage artist, who was raised on the South Side of Chicago. He is Professor of Art at Arizona State University, where he began teaching in 1998, after 20 years on the faculty of the Department of Photography at Columbia College Chicago. Marc has received grants from the Arizona Commission on the Arts and the National Endowment for the Arts, and his awards include the Society for Photographic Education’s Insight Award. Marc has published three photography books: <em>Passage on the Underground Railroad</em> (University Press of Mississippi, 2009), <em>The Black Trans-Atlantic Experience: Street Life and Culture in Ghana, Jamaica, England, and the United States</em> (Columbia College Chicago, 1992), and <em>Urban Notions</em> (Ataraxia Press, 1983).</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2stephenmarc.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3stephenmarc.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4stephenmarc.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5stephenmarc.jpg" style="height:600px; width:400px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6stephenmarc.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/7stephenmarc.jpg" style="height:600px; width:400px" /></p> <p> </p> <p><strong>Highbrow Magazine</strong></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/stephen-marc" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Stephen Marc</a></div><div class="field-item odd" rel="dc:subject"><a href="/americantrue-colors" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">American/True Colors</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/street-photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">street photography</a></div><div class="field-item even" rel="dc:subject"><a href="/american-photographers" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">american photographers</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-photography-books" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new photography books</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Stephen Marc</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All photos courtesy of Stephen Marc</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Tue, 24 Nov 2020 16:20:26 +0000 tara 10001 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/11053-photographer-explores-facets-american-identity#comments A Photographer’s Fascination With the Natural Beauty of the Florida Coast https://www.highbrowmagazine.com/11023-photographer-s-fascination-natural-beauty-florida-coast <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Tue, 11/10/2020 - 08:35</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1peritore.jpg?itok=rGeyNQKd"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1peritore.jpg?itok=rGeyNQKd" width="480" height="342" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>Anthony J. Peritore’s captivation with Cape Canaveral and Merritt Island was set in motion by his initial <em>National Geographic</em> assignment. His experience in photographic equipment management and specialty in remote image capture for aviation brought him to Florida’s Space Coast to photograph the inaugural Space Shuttle launch, continuing with two decades of assignments.</p> <p> </p> <p>On his days off, Peritore was drawn to Merritt Island, a gathering place of the Atlantic Flyway bird migration route. His enthusiasm for nature inspired him to retire to the area, where he continues to photograph the beauty of the coastal region.</p> <p> </p> <p>Peritore joined the National Geographic Society as a staff member in 1979 and worked there until December 2014.</p> <p> </p> <p>Since his retirement, Peritore has focused on Cape Canaveral and Merritt Island. His lifelong disciplined approach to image-making has lent an added freedom to immerse himself in the tranquility of observing nature.</p> <p> </p> <p>Peritore was raised in Coney Island, Brooklyn. He picked up his first Pentax Spotmatic in the 1960s, and he continues today to look through the viewfinder for feathered and aluminum birds alike.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2peritore.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3peritore.jpg" style="height:600px; width:400px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4peritore.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5peritore.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6peritore.jpg" style="height:409px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/7peritore.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> <p> </p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/anthony-peritore" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Anthony Peritore</a></div><div class="field-item odd" rel="dc:subject"><a href="/national-geographic" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">National Geographic</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/cape-canaveral" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">cape canaveral</a></div><div class="field-item even" rel="dc:subject"><a href="/merritt-island" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">merritt island</a></div><div class="field-item odd" rel="dc:subject"><a href="/florida-space-coast" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">florida space coast</a></div><div class="field-item even" rel="dc:subject"><a href="/nature-photographs" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">nature photographs</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Anthony J. Peritore</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All photos courtesy of Anthony J. Peritore</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Tue, 10 Nov 2020 13:35:34 +0000 tara 9966 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/11023-photographer-s-fascination-natural-beauty-florida-coast#comments Legendary Photographer Burk Uzzle Sees All https://www.highbrowmagazine.com/10969-legendary-photographer-burk-uzzle-sees-all <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Fri, 10/16/2020 - 10:20</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1burkuzzle.jpg?itok=emYMAxTY"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1burkuzzle.jpg?itok=emYMAxTY" width="480" height="270" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>All you need to do to realize how important photography is to being really <em>alive</em> is to acquaint yourself with the work of Burk Uzzle. Jethro Waters's <em><a href="https://www.firstrunfeatures.com/f11.html" style="color:blue; text-decoration:underline">F11 and Be There</a></em>, a First Run Features Virtual Cinema release, is a moving and essential documentary film on the life and career of this iconic American photographer.  Uzzle has created some of the most iconic photographs in American history. From the Rev. Martin Luther King Jr. to Woodstock to America's small towns and back roads, no subject is too daunting for this great humanitarian. </p> <p>The film is loaded with Uzzle’s life lessons.  We get an unabashed honesty throughout, watching the master in his studio as he works with his subjects, or finds an abandoned barn off the highway. He surprises us at every turn with both his sensitivity and unflagging energy, creating a “culture of respect” that pays off in profound, unforgettable images.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2burkuzzle.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>To “be there” is no easy task.  He advises that you must know your value as a person as well as the value of the tool in your hand.  Brandishing a hammer or a camera, he tells us a tool is not a tool until you have the craft to handle it well.  To Uzzle, “a tool is a Stradivarius.”  At 80 years old, he has learned to take his own advice.  As a young man, he saved the money from his paper route to buy his first camera, determined that he would work for <em>Life</em> magazine one day.  That dream came true by the time he was 23, with the best teachers anyone could hope for. </p> <p>Cornell Capa, an early mentor and the founder of the International Center of Photography, taught him “you’re only as good as your legs.”  He used them well, throwing himself into the line of fire in Vietnam, seeing up close the cost of war with his camera as a shield.  He could sniff out the changing tides of the times, hovering over the casket of Martin Luther King Jr. or getting a closeup glimpse of Bobby and Ethel Kennedy on the trail two weeks before the tragic assassination.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3burkuzzle.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>From the legendary photographer Henri Cartier-Bresson, he not only learned how to search for the “decisive moment” but an appreciation for the quattrocento painters.  We are given a brief look at his own exhibition, ‘American Chronicle” at the North Carolina Museum of Art, a retrospective that not surprisingly had an attendance of over 700 visitors, the largest in its history. </p> <p>But his true pleasure is in showing us the old masters, his face lighting up with a child’s excitement.  We peer closely along with Uzzle as he shows us how to look at a painting as if it were a photograph, finding new meaning in the color black or the chiaroscuro effect of dark and light on a subject’s face.  As for faces, he sees each one as a new frontier, “as deep a frontier as you’re capable of exploring.”</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4burkuzzle.jpg" style="height:338px; width:600px" /></p> <p> </p> <p>What better subject matter for a photographer born and bred in the South than the African-American populace of North Carolina, and the director doesn’t give short shrift to Uzzle’s unwavering obsession and love for these people. These are photo sessions where he really shines. Whether it’s the angle of a churchgoer’s hat or the microscopic display of a shooting victim’s ribs, he treats every challenge with the precision of a surgeon.  At certain times, an insistent drumbeat accompaniment heightens the inherent drama of the scene.</p> <p>He expresses his disappointment in politics and the workings of the world. But he is a man of faith in himself and his work.  “The arts must make the world better.” How fortunate we are to have Uzzle as a chronicler of his time.  We can only wish there were more like him.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5burkuzzle.jpg" style="height:338px; width:600px" /></p> <p> </p> <p><strong>Author Bio:</strong></p> <p><strong><em>Sandra Bertrand is </em>Highbrow Magazine<em>'s chief art critic.</em></strong></p> <p> </p> <p><strong>For Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/burk-uzzle" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">burk uzzle</a></div><div class="field-item odd" rel="dc:subject"><a href="/f11-and-be-there" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">f11 and be there</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/famous-photographers" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">famous photographers</a></div><div class="field-item even" rel="dc:subject"><a href="/new-documentaries" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new documentaries</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-films" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new films</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">Sandra Bertrand</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All images courtesy of First Run Features</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 16 Oct 2020 14:20:11 +0000 tara 9912 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10969-legendary-photographer-burk-uzzle-sees-all#comments A Photographer Captures Images of Italian Life Through Windows https://www.highbrowmagazine.com/10628-photographer-captures-images-italian-life-through-windows <div class="field field-name-field-cat field-type-taxonomy-term-reference field-label-hidden"><div class="field-items"><div class="field-item even"><a href="/photography-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Photography &amp; Art</a></div></div></div><span class="submitted-by">Submitted by tara on Thu, 05/07/2020 - 21:06</span><div class="field field-name-field-image field-type-image field-label-hidden"><div class="field-items"><div class="field-item even" rel="og:image rdfs:seeAlso" resource="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1italianview.jpg?itok=WtUdYmQ6"><img typeof="foaf:Image" src="https://www.highbrowmagazine.com/sites/default/files/styles/large/public/field/image/1italianview.jpg?itok=WtUdYmQ6" width="360" height="480" alt="" /></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden"><div class="field-items"><div class="field-item even" property="content:encoded"><p> </p> <p>Gail Albert Halaban’s new series <em>Italian Views</em> — with an accompanying monograph from Aperture (2019) — extends the photographer’s ongoing<em> </em>project to the cities of Venice, Rome, Naples, Palermo, Florence, Lucca, and Milan, collaborating with pairs of neighbors in these cities to create visual short stories that the viewer is invited to write for him/herself.</p> <p>Halaban, who lives and works in New York, began photographing at the age of 6, when she made a camera for her first-grade science fair. Her art explores the chasm between public and private life.</p> <p>Halaban’s series<em> </em>is a collection of images taken through and into windows in New York City, a project that earned her international recognition in 2012 and which she continued in 2014 with <em>Vís a Vís Paris’<strong> </strong></em>haunting exploration of that city’s windows, and now with <em>Italian Views</em>.</p> <p>In these Hitchcockian tableaus, she acknowledges unspoken voyeurism and exhibitionism, and   pushes us to confront the hope, isolation, and other emotions that lie behind the gaze.</p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/2italianview.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/3italianview.jpg" style="height:600px; width:450px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/4italianview.jpg" style="height:450px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/5italianview.jpg" style="height:400px; width:600px" /></p> <p> </p> <p><img alt="" src="https://www.highbrowmagazine.com/sites/default/files/6italianview.jpg" style="height:450px; width:600px" /></p> <p> </p> <p><strong><em>For more information, visit </em></strong><a href="https://www.jacksonfineart.com/" style="color:#0563c1; text-decoration:underline"><strong><em>Jackson Fine Art.</em></strong></a><strong><em>     </em></strong><strong><em>       </em></strong></p> <p><strong><em>Jackson Fine Art has a near 30-year history in supporting fine art photography artists and collectors.  The gallery cultivates and provides both emerging and established collectors with access to fine art photography of the 20th and 21st century, across both traditional and innovative photo-based mediums.</em></strong></p> <p> </p> <p><strong>Highbrow Magazine</strong></p> </div></div></div><div class="field field-name-field-tags field-type-taxonomy-term-reference field-label-above"><div class="field-label">Tags:&nbsp;</div><div class="field-items"><div class="field-item even" rel="dc:subject"><a href="/gail-albert-halaban" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Gail albert halaban</a></div><div class="field-item odd" rel="dc:subject"><a href="/my-window" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">my window</a></div><div class="field-item even" rel="dc:subject"><a href="/photos-italy" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photos of italy</a></div><div class="field-item odd" rel="dc:subject"><a href="/jackson-fine-art" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">jackson fine art</a></div><div class="field-item even" rel="dc:subject"><a href="/photography" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">photography</a></div><div class="field-item odd" rel="dc:subject"><a href="/new-photo-exhibits" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">new photo exhibits</a></div><div class="field-item even" rel="dc:subject"><a href="/looking-through-window" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">looking through window</a></div><div class="field-item odd" rel="dc:subject"><a href="/spying" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">spying</a></div><div class="field-item even" rel="dc:subject"><a href="/voyeurism" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">voyeurism</a></div></div></div><div class="field field-name-field-author field-type-text field-label-hidden"><div class="field-items"><div class="field-item even">The Editors</div></div></div><div class="field field-name-field-pop field-type-list-boolean field-label-above"><div class="field-label">Popular:&nbsp;</div><div class="field-items"><div class="field-item even">not popular</div></div></div><div class="field field-name-field-photographer field-type-text field-label-above"><div class="field-label">Photographer:&nbsp;</div><div class="field-items"><div class="field-item even">All photos courtesy of Gail Albert Halaban -- Jackson Fine Art</div></div></div><div class="field field-name-field-bot field-type-list-boolean field-label-above"><div class="field-label">Bottom Slider:&nbsp;</div><div class="field-items"><div class="field-item even">Out Slider</div></div></div> Fri, 08 May 2020 01:06:24 +0000 tara 9530 at https://www.highbrowmagazine.com https://www.highbrowmagazine.com/10628-photographer-captures-images-italian-life-through-windows#comments