Jock Sturges is of one of the most controversial photographers of the last decades known for his series of naturist families primarily taken at communities in France, Northern California and Ireland. Captured with a rare large format camera, his images often refer back to the old masters’ paintings and the classical style photography of the late 19th and early 20th century.
However, the photographer’s initial rise to fame was burdened by controversy. The young age of some of his models drew the attention of a conservative federal task force that raided his studio and seized his files and equipment, later on all his images and equipment were returned and no charges brought. Three years later his work was assailed again by an organised attack by extremist activists from American Christian communities who besieged bookshops aiming to seize and destroy his books. Once again his work was ultimately found to be innocent of all pornographic content or intent.
Indeed, his photographs are devoid of exploitive or negative characteristics. Sturges doesn’t treat the naked body as an abstract form, but engages with his models and aims to capture them when they are most at ease, giving his work a beautiful, unrestrained quality. Sturges is committed to long-term friendships with the families he photographs. The photographer captures his models – girls and young women from nudist communities – in the surroundings that are organic to them. “Nudity means nothing to anybody here… People are naked… because they are naturists and spend their summers in a resort dedicated to the absence of shame.”
Having started in the 1970s, now Sturges is photographing the third generation of his models. “I have many series that are 30 to 35 years old,” he says. He is fascinated with the human body and how it develops from a fat-bellied baby to a delicate child and from there into adolescence and beyond into adulthood. Not just the biological process is an interest of Sturges, the development of the personality is of equal, if not greater, importance to him: “My ambition is that you look at the pictures and realise what complex, fascinating, interesting every single one of my subjects is.”
The exhibition represents around 40 photographs, offering a retrospective view on the work of Jock Sturges from the 1970s up to the recent times.
Jock Sturges (b. 1947) | based in Seattle (WA, USA) | an American photographer known for his large-format portraits of nude adolescents | received a B.A. in Perceptual Psychology and Photography from Marlboro College in Vermont and an M.A. from the San Francisco Art Institute | worked with Richard Benson printing from the negatives of Paul Strand, Eugene Atget, Walker Evans and Gary Winogrand, among others | has more than 10 monographs published | his work has been included in many museum collections around the world (e.g. The Museum of Modern Art and the Metropolitan Museum of Art in New York, the National Library in Paris and The Frankfurt Museum of Modern Art).
Jock Sturges – ABSENCE OF SHAME
@ The Lumiere Brothers Centre for Photography (Bolotnaya emb. 3, b.1, Moscow, Russia)
Opening: September 8 at 12.00 PM
Artist talk: September 8 at 7.00 PM
The exhibition will be open to the public between September 8 and October 30, 2016
The Jock Sturges’ exhibition is organised under doc! photo magazine patronage.
Street photography is based on capturing unusual events, symbols or anecdotes hidden in everyday situations happening in public places. Street photographers observe, notice and capture things, that others are unable to see. They do not arrange their pictures, they save everyday life as it is.
Un-Posed, founded in 2011, is the most recognisable Polish street photography collective. Its primary aim is to develop creativity and visual consciousness in public space and promote the achievements of Polish street photographers. The collective has already presented its works at various exhibitions in Poland and abroad. The next one, and at the same time the largest one, will be open soon in Lublin (Poland).
The Niepozowane (unposed in Polish) exhibition focuses on a human being seen in different situations and photographed in different places around the world. The pictures by 8 photographers – Damian Chrobak (doc! #13 & #19), Maciej Dakowicz (doc! #12), Jamie Fyson Howard (doc! #16), Ania Kłosek (doc! #25), Monika Krzyszkowska (DEBUTS 2015), Tomasz Kulbowski, Marta Rybicka (DEBUTS 2016) and Adrian Wykrota (doc! #31) – form a story about the current state of man in terms of behaviours, surroundings and emotions. Why are we drawn to these images? Do we see similarities in our own lives? Have we seen such scenes somewhere before?
Despite of the fact that all members of the collective move in the same area of interests, their photographs prove their individual style, which shows complexity and potency of street photography.
Un-Posed – NIEPOZOWANE (UNPOSED)
@ Brain Damage Gallery (7 Marii Curie Skłodowskiej St., Lublin, Poland)
Grand opening: August 20 at 7.00 PM
The exhibition will be open to the public until September 18, 2016
The Un-Posed exhibition is organised under doc! photo magazine patronage.
Tomek Sikora on his newest project:
“Colours are the most beautiful invention of the creator of this world. The variety of hues in nature and people makes us feel that we are in paradise.
Concerned by rising xenophobia and a fear of other cultures on the one hand and delighted with Chi-Chi Ude’s extremely bright and graphical collection of clothing inspired by Africa on the other, I gathered together a group of people and we created this little book dedicated to the power of colour.
Beautiful and colourful images were formed and I dedicate them to everyone – to those who are open to this world and to those who are still in fear because they don’t know it yet.
Let’s not be afraid of diversity… and to all my co-authors – thank you with all my heart.”
Tomek Sikora (b. 1948) | based in Warsaw (Poland) | author of dozens of individual exhibitions, presented all over the world, and over 55 photo books | together with Andrzej Świetlik (cd! #7) has found The Homeless Gallery | after moving to Australia in 1982, ran photo workshops at the Victorian College of the Arts, and together with Eryk Fitkau established an advertising photography studio | worked for Singapore Airlines, Levi’s and Reebok and many more | the 1990 campaign for Le Shirt earned him the title of The Advertising Photographer of the Year in Australia, Oceania and South-East Asia.
The Tomek Sikora exhibition is organised under doc! photo magazine patronage.
Sonia Szóstak’s The Age of Innocence exhibition consists of 30 photographs taken in the last five years and includes portraits, nudes, fashion and lifestyle pictures.
Sonia Szóstak makes portraits that present the beauty of the young body in different conventions. The naturalness and shamelessness of the photographed person results from the fact that the authoress doesn’t exceed the limits of intimacy. Her nudes in a natural setting show man inseparably tied with nature. The photos are unobvious, shrouded in mystery, even a bit disturbing. Nature is only the background here, but the essence of the picture is the proximity of the two people. Showing emotions is one of the important aspects of Sonia Szóstak’s work.
In turn, the nudes taken in middle-class interiors are direct reference to the old canons of painting – Giorgione’s Sleeping Venus or Titian’s Venus of Urbino. Painterly character of these pictures is highlighted by the skilful use of light and colour saturation. In contrary to the original Venus, the contemporary ones are independent and conscious of the strength of their femininity. It is also significant, that the camera is in a woman’s hands. The nude photography taken by a man is differently perceived than the one taken by a woman. What matters is this special relationship and level of trust between the photographed and the artist; it might be the reason, why we can feel lightness and naturalness while looking at these images.
Aesthetics of Szóstak’s pictures betrays her fascination with Peter Lindberg work and other masters of photography. In her portraits – both, B&W and colour – the artist presents beautiful women thoughtfully looking into the lens. Thanks to her style of building the scene and its atmosphere, she achieves perfection and elegance similar to Erwin Olaf’s images.
The Age of Innocence exhibition is a praise of might of youth, femininity and nature. It results from “the young and beautiful”’s searching for spaces of freedom. Despite of the variety of topics, Sonia Szóstak has sophisticatedly captured the spirit of her generation. She portrays young and happy people, who enjoy life in uninhabited way. This contemporary idyll is presented as the echoes of dreams, longing for paradise, and nature which we are part of.
Sonia Szóstak (b.1990) | a graduate of Photography at the Łódź Film School | awarded by Le Book for the best cover and recognised by the Fashion magazine as the best debuting photographer (2011) | took first place in the TOP 10 photographers ranking published by the F5 Trendy Rynku i Kultury magazine (2015) | specialises in fashion photography | has published in Vogue, Rolling Stone, Ozon, i-D, Harper’s Bazaar, Interview and K MAG, among others | her photographs have been exhibited in Germany, Italy and Poland | represented by the AFPHOTO (Poland) and Aura Photo (Italy) agencies.
Sonia Szóstak – THE AGE OF INNOCENCE
@ Gdańsk Gallery of Photography (Green Gate, 24 Długi Targ St., Gdańsk, Poland)
Grand opening: July 1 at 6.00 PM
The exhibition will be open to the public between July 2 and September 11, 2016
The exhibition is organised under doc! photo magazine patronage.
Bruce Gilden’s American Made exhibition consists of dozens of portraits, small towns’ landscapes and still life made between 2013 and 2014 in the American countryside on the occasion of state fairs, picnics and other events organised in the western and southern states of the USA. In his interview for the S Magazine (#7, spring 2016) he talked about the beginnings of this project:
“The state fairs are traditional American summer events in the form of picnics. Since the 19th century, residents of particular states come to the fairground around their capital cities to meet friends, have fun and have a drink. My first fair was Wisconsin State Fair in Milwaukee, to where I went in August 2013 to take pictures for the ‘Postcards from America’ project. It was like a godsend: 1,012,552 visitors in 11 days! I took lots of good pictures and I thought it would be a good thing to carry on. In the next months of 2013 and throughout the summer of 2014, I used to go from one picnic to another: Mississippi State Fair, then Ohio, Iowa and Minnesota, visited by 150,000 people every day! Some of the events were more interesting than others, but it was never boring there.“
Bruce Gilden has been hunting with his camera along the streets of New York City for decades. His B&W street photographs draw their strength from the immediacy with which their author approaches his characters. As he says: “I’m known for taking pictures very close, and the older I get, the closer I get.” Such approach led him to the Magnum Photos agency and made him famous.
Gilden worked exclusively on B&W film for four decades. But recently he has started to use colour. His latest project results from that artistic catharsis and proves transformation of his work from the street photography to documentary portrait photography. With his American Made series, he carries on his monumental reportage based project on the contemporary United States, asking questions about the condition of America and veracity of its image, searching for what is left of the great American dream.
The variety of faces by Gilden confirms the fundamental truth: the world does not consists of winners only; there are lots of different things we would rather not know up close. But it is just this diversity of characters, attitudes, places that makes the life so fascinating. The world in Gilden’s photographs is not that retouched one from soap opera or illustrated magazine. The people from his photos are neither beautiful nor spotless. Their houses, cars, their food and lifestyle are not the ideal of the West. But these images are unforgettable, they force us to reflect on how the modern civilisation imprints its mark on us.
Bruce Gilden (b. 1946) | based in New York City (NY, USA) | a member of the legendary Magnum Photos agency (since 1998) | known for photographing unusual people, far from any canons | has received numerous awards and recognitions all over the world | one of the most recognisable American photographers.
The Bruce Gilden exhibition is organised under doc! photo magazine patronage.
The Lumière Brothers Centre for Photography is pleased to invite to the Malkovich, Malkovich, Malkovich: Homage to Photographic Masters exhibition, a photographic collaboration between Chicago photographer Sandro Miller and actor John Malkovich.
In 2013, after having secured his place as one of the top advertising and portrait photographers worldwide, Sandro Miller set out to complete a series that honours the photographs that had inspired and impacted Sandro and became iconic in the history of world photography. The series contains Irving Penn’s portrait of Truman Capote crouched in a corner, Bert Stern’s photographs of Marilyn Monroe, Dorothea Lange’s image of a migrant mother during the Great Depression, Robert Mapplethorpe’s self-portrait with a gun, Annie Leibovitz’s image of John Lennon and Yoko Ono shot for the Rolling Stone magazine, Diane Arbus’ iconic photograph of a boy holding a toy hand grenade and Richard Avedon’s beekeeper, among many others.
This project for Sandro Miller is an attempt to go back and get into the heads of photographers, to explore their technical and emotional ways of working, to understand how a particular photograph was created. For John Malkovich it is another opportunity to show the stagecraft and capacity for any transformation of his face and body; an opportunity to “get inside the frame” and to tell viewers a story in one single image. This project involves the viewer into a situation between the real and the imaginary, exploring the power of an image and the photography’s ability to change our memory and perception.
The exhibition also features works from the most recent project released this year – The Malkovich Sessions – the product of a unique, years-long artistic collaboration between two stars – and short films, which have become the natural progression for their work and have gained international recognition. The Malkovich Sessions, accompanied by a book (Glitterati, 2016), represents a profound meeting of the minds.
Sandro Miller (b. 1958) | based in Chicago (IL, USA) | a commercial photographer, also willingly doing artistic projects | known for frequent changing styles and searching for inspiration in history of photography | has been photographing people for over 30 years | his pictures have been internationally published and exhibited | winner of many prestigious awards, including the Lucie Foundation’s International Photographer of the Year (2014 and 2015) | recognised as one of the top 200 advertising photographers in the world.
Sandro Miller – MALKOVICH, MALKOVICH, MALKOVICH: HOMAGE TO PHOTOGRAPHIC MASTERS
@ The Lumière Brothers Centre for Photography (3 Bolotnaya Emb., Building 1, Moscow, Russia)
The exhibition is open to the public until August 28, 2016
Viktor Kolář is one of the most important Czech photographers of the second half of the 20th century. The exhibition includes around 60 silver gelatin prints from his Ostrava and Canada series.
“There is nothing more surreal than reality itself” – this quote by Brassaï helps to discern a multitude of meanings in Viktor Kolář’s work inspired by the environment of postwar Ostrava, where the communist present, with its double identity, withstood German occupation, the short-lived Czech Republic and Habsburg empire. Viktor Kolář has been photographing Ostrava for over 50 years.
His work experience at Vitkovice Steel Works, the ancient mill in the former industrial centre of the Czech Republic, largely influenced his photography. Viktor Kolář says, “The pain and misery some of us go through can often result in creating the best photographs. It is when things are hard, I believe, that we may see what appears invisible, or appreciate the potential of a subject that looks ordinary.”
Photography of Viktor Kolář bears similarities to works of the previous generations of Czech photographers. His talent of capturing the atmosphere of space and the fragility of the unrepeatable moment recall photographs of the interiors of St. Vitus Cathedral from the 1920s by Josef Sudek, “emotive photography” from the 1930s by Jaromír Funke, documentation of the perversity of meaning under state control on the streets of Prague from the1950s-60s by a Czech surrealist Emila Medková.
Viktor Kolář combines intellectual contemplation of and empathy toward his subjects. Psychological dynamics was central to his work produced in Canada and the USA from 1968 to 1973 where he shot in public places and in the streets of Hamilton, Montreal, Toronto, Vancouver and New York City and continued to capture it after his return to Ostrava. His photographs of the streets of Ostrava in the 1970s-80s reveal the psychological state of people in front of his lens and at the same time bring viewers in contact with the atmosphere of the time formed by the imposed rules of the communist state, destruction of values, loss of the utopia and anticipation of change. In his photographs of the independent Czech Republic, the symbols of a new capitalist society – shopping malls, cheep markets, ubiquitous advertising – contrast with the residents of Ostrava unfamiliar with market economy. Contradictory motifs of this later work trace back to Kolář’s early photographs and derive from his aspiration to embrace all of the multifaceted reality of the city. Kolář says about these photographs: “I have to be as realistic about the new order as I was about the old one. Sentimentality will not save us.”
Viktor Kolář (b. 1941) | based in Ostrava (the Czech Republic) | began to photograph at 13 and had his first exhibition at a local museum when 23 | fled to Canada after the invasion of Czechoslovakia by Warsaw Pact troops in 1968 and returned under the amnesty for Czech immigrants five years later | a winner of the Mother Jones International Fund for Documentary Photography award (1991) | has exhibited his works at solo and group exhibitions in France, Germany, Greece, Slovakia, the United Kingdom and in the USA, among others | his works are included in the collections of The Art Institute of Chicago, Victoria and Albert Museum in London, International Centre of Photography in New York City, Maison Européenne de la Photographie in Paris, Musée de l’Elysee pour la Photographie in Lausanne and Museum Ludwig in Köln.
Viktor Kolář – VISIONS OF VIKTOR KOLář. CZECH PHOTO
@ The Lumière Brothers Centre for Photography (3 Bolotnaya Emb., Building 1, Moscow, Russia)
Grand opening: June 15, 2016
The exhibition will be open to the public until September 25, 2016
The Dead Sea, the Sea of Salt, the Sea of Death – they are all names of the same sea, associated with the lowest located place on the planet and the salt concentration preventing any life in this area. What is a photographer to do facing this place escaping any definition? Facing the place whose deadliness is apparent, but which attracts and vibrants its hidden vitality but simultaneously undergoing processes threatening its existence?
Waldemar Zdrojewski proposes to look at this place directly. He allows the viewer to dwell on its silence, weaving threads disrupting “the established order of things” into the exhibition space. For instance, the coastal erosion whose scale surprises. He does not search for metaphors – the literal, seemingly quiet frames extract from that a universal story about the eternal life and death struggle. Thus the exhibition title is Dead Sea. A Story on Delusion of Death.
On the one hand, we see the pictures saluting the peaceful nature, on the other one – there are dramatic frames indicating destructive human presence, mercilessly exploiting its unique sources. The Dead Sea. A Story on Delusion of Death is the dialectic between life and lack of concern for it, between naturalness of a place and its centuries-old cultural layers. The dispute between the cracked by sun earth and irrigated with historic tensions civilisation. The question about the human’s place and role in nature.
The pictures were taken in Israel, nearby Ein Bokek, Ein Gedi, Masada, Mitzpe Shalem and Neve Zohar within 8 years.
Waldemar Zdrojewski (b. 1963) | based in Zalesie (Poland) | a graduate of the Warsaw School of Photography and Graphic Design | a photography lecturer at the University of Warsaw | creator of the Warsaw’s Obserwacja Gallery | an author of numerous exhibitions and publications | a juror in photographic competitions | a curator of exhibitions | a winner of the Zbigniew Roszewski Theatre Institute’s photo contest | focused on documentary photography and photojournalism | interested in expressive and experimental photography.
This is already the third DEBUTS final, the initiative which aims to discover and promote the most talented emerging Polish photographers. In these days where images surround us everywhere choosing people has not been an easy task. Additionally, the majority of these images are bland and are instantly forgotten as we flick through the pages of a newspaper or skip between television channels and websites. How do we find the best images in this ocean of mediocrity? How to ensure the good pictures reach a wider audience?
“To find an answer these questions is why we started our project,” – says Grzegorz Kosmala, editor-in-chief of doc! photo magazine. – “We want to present the photography enthusiasts, who care, who are worth watching, despite the fact that they are at the beginning of their artistic roads, in the hope that with our support their careers will flourish and not trundle into a blind alley.”
What do the emerging Polish photographers tell us in their pictures? What preoccupies their minds? They discuss the issues that, at certain moments, are important in everybody’s life: the joy of experiencing childhood, loneliness after the loss of a loved one, anxiety about the future. They observe and document their nearest surroundings; comment on the reality around them. Sometimes photography helps them accept themselves, and sometimes it lets them take refuge in ideal world they themselves have created.
“As I dived deeper and deeper into the stories, the images, the portfolios the intensity raised,” – says Mads Nissen, member of the DEBUTS (edition 2016) jury. – “All of a sudden, I realised that I was not just staring into a screen – I was staring out. Out through the eyes of a young and talented Polish man or woman. Out on the world that surrounds him – but even more interesting than the naked facts – I was looking at his surroundings through the intriguing gaze of his mysterious mindset. That is photography for me. The photography I was looking for. The photography that tells us important stories about people and the realities that surround them, but always told with the photographers engaged and distinct voice. Because, if we don’t feel much when we take the picture – for sure – neither will anyone else when they see the image. And if the images are too sharp – too precise – then there is no room for thoughts. In the portfolios that I selected, I found just that, that magic that makes photography something much bigger than pictures.”
Despite of the range of photography we have to deal with – documentary, travel, street, fashion or fine art – all the portfolios are combined by the conscious use of the medium. The 40 people, whose photographs are presented at the exhibition and in the book, prove that the photography is something more than just pictures. It is about capturing forever emotions and life’s experiences. It is a joyful moment and a link between the present and the past, as well as a great gift for the future. It is a commentary on the photographer’s “here” and “now”, and it is up to us, the recipients, how we will decode this commentary. It requires us to open our minds to these pictures and to take the photographer’s point of view. Only then we will be able to decode his/her message. Only then we will understand his/her way of thinking. Only then we will be able to see ourselves in these pictures. So little and at the same time so much.
Jury: Calin Kruse (Germany), Petra Leene (the Netherlands/USA), Mads Nissen (Denmark), Moshe Rosenzveig (Australia), Grzegorz Kosmala (Poland)
Photographers: Basia Abramowicz, Joanna Bałaś, Adam Biernat, Katarzyna Bojko-Szymczewska, Alicja Brodowicz, Patryk Bułhak, Katarzyna Czerniak, Natalia Dołgowska, Kamil Domański, Tytus Grodzicki, Małgorzata Gwiazdonik, Edyta Jabłońska, Marta Kaczmarek, Julia Kaczorowska, Marta Kiela-Czarnik, Barbara Kosakowska, Katarzyna Kubiak, Magdalena Kuca, Artur Kucharczak, Dominika Kucner, Jacek Laube, Anna Lemke, Paweł Malinowski, Michał Matejko, Jakub Michalec, Maciej Narożny, Ola Nguyen Van, Laura Ociepa, Michał Orliński, Arkadiusz Pisarek, Arek Rataj, Sandra Recka, Marta Rybicka, Wojciech Ryziński, Małgorzata Skrzypczyk, Kamil Śleszyński, Weronika Twardowska, Dominik Witaszczyk, Weronika Woźniak, Aleksandra Zinkiewicz
2016 Fotofestiwal Łódź
HIT THE ROAD: Photographers’ Travel
June 9-19, 2016
More info @ www.fotofestiwal.com
The 15th International Festival of Photography FOTOFESTIWAL Łódź is organised under doc! photo magazine patronage.
As one of the main cultural projects of the 2016 European Green Capital, the Museum and Galleries of Ljubljana is presenting the momentous exhibition Genesis, a project by the world-renowned photographer Sebastião Salgado.
The exhibition, curated and designed by Lélia Wanick Salgado, is the result of the photographer’s multi-year survey and draws together 245 spectacular B&W photographs of wildlife, landscapes, seascapes and indigenous people, raising public awareness about the pressing issues of environmental and climate change.
Genesis, Salgado’s third long-term series, can be viewed as a response to its predecessors – Workers and Migrations – which explored displaced populations and the relentless working conditions endured by men and women around the world. In Genesis, Salgado has chosen to move his main interest away from people and to focus on the pristine beauty of the earth and those living in harmony with it. During his travels across the globe between 2004 and 2011, he documented Arctic and desert landscapes, tropical rainforests, marine and other wildlife, and communities still living according to ancestral traditions. Through these photographs, Salgado pays homage to the fragile planet he believes we all must protect.
“Genesis is a quest for the world as it was, as it was formed, as it evolved, as it existed for millennia before modern life accelerated and began distancing us from the very essence of our being” – says Lélia Wanick Salgado. – “It is testimony that our planet still harbours vast and remote regions where nature reigns in silent and pristine majesty.”
Salgado’s photographs captivate viewers with their delicate tinges of colour and shades of grey, together with sharp contrasts between light and dark areas. The photographs’ strong appeal is particularly due to the intentionally calm compositions made up of clear structures, lines and forms.
The exhibition is divided into five geographical regions: Planet South, Sanctuaries, Africa (on view at the City Museum) and Northern Spaces along with Amazonia and Pantanal (on view at Jakopič Gallery).
Sebastião Salgado (b. 1944) | based in Paris (France) | began his career as a professional photographer in 1973 | before establishing Amazonas Images (1994), had worked for Sygma, Gamma and Magnum Photos agencies | has travelled to over 100 countries for his projects | author of several books, including Other Americas (Contrejour, 1985), Sahel, l’Homme en Détresse (Prisma Presse, 1986), An Uncertain Grace (Aperture, 1990), Workers (Phaidon, 1993), Terra (Phaidon, 1997), Migrations (Aperture, 2000), Africa (Taschen, 2007) and Genesis (Taschen, 2013), among others | has been awarded numerous major photographic prizes in recognition of his accomplishments | through his Instituto Terra (established in 1998), involved in reforestation, conservation and education in Brazil | together with his wife Lélia, received an award from UNESCO Brazil and the Rio de Janeiro Municipality as well as the Personalidade Ambiental Prize from the World Wildlife Fund, Brazil in recognition of their work with Instituto Terra (2012) | a UNICEF Goodwill Ambassador and an honorary member of the Academy of Arts and Sciences in the United States.
Sebastião Salgado – GENESIS
@ Jakopič Gallery (9 Slovenska cesta St., Ljubljana, Slovenia)
@ City Museum of Ljubljana (15 Gosposka St., Ljubljana, Slovenia)
Grand opening: May 31, 2016
The exhibition will be open to the public until August 31, 2016
For detailed list of all accompanying events and initiatives, go to www.mgml.si.