Series of Photographic Portraits: A Century of Photographs

August Sander, Jungbauern, Westerwald, 1914

Helmar Lerski, Everyday Heads, 1931

Heinrich Riebesehl, People in an Elevator, 1969

Andy Warhol, Self-Portrait in Drag (Reddish-Brown Wig, Plaid Tie), 1981/82

Michael Schmidt, Aus der 81-Teiligen Serie Frauen, 1997-1999

Judith Joy Ross, Protesting the U. S. War in Iraq, 2007

Series of Photographic Portraits: A Century of Photographs

Series of Portraits: A Century of Photographs is an exhibtion of 20th century portrait photography, which is presently on display at the Museum für Kunst und Gewerbe, Hamburg. Portraiture is one of the traditional genres in art and was a driving force behind the invention of photography in the 19th century. Portrait photography continually redefines itself, between dissolution of the traditional concept of the subject in the masses, toward the pursuit of individuality and identity. The image of the human being is subject to constant change, which is also reflected in photography, sometimes with spectacular results.

Photo-Gallery: Series of Portraits/A Century of Photographs

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Pictures by Women: A Celebration of Great Women Photographers

Ilse Bing, Self-Portrait in Mirrors , 1931

Helen Levitt, Trick-or-Treaters, 1939

Cindy Sherman, Untitled #92, 1981

Nan Goldin, Nan One Month After Being Battered, 1984

Nan Goldin, Nan and Brian in Bed, 1983

Katy Grannan, Nicole in Crissy Field Parking Lot, 2006

Elinor Carucci, My Children, @2003

Pictures by Women: A History of Modern Photography

Pictures by Women: A History of Modern Photography is an exhibition of photographs currently on view at New York City’s Museum of Modern Art. The exhibition presents a selection of outstanding photographs by women artists, charting the medium’s history from the dawn of the modern period to the present time. For much of photography’s 170-year history, women have expanded its roles by experimenting with every aspect of the medium. Including over two hundred works, this exhibition features celebrated masterworks and new acquisitions by such figures as Diane Arbus, Berenice Abbott, Claude Cahun, Imogen Cunningham, Rineke Dijkstra, Florence Henri, Roni Horn, Nan Goldin, Helen Levitt, Lisette Model, Lucia Moholy, Tina Modotti, Cindy Sherman, Kiki Smith, and Carrie Mae Weems, among many others.

Slide Show: Pictures by Women/A History of Modern Photography

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Up Close: Photographs of Candid Intimacy

Up Close: Photographs of Candid Intimacy

Up Close is a collection of photographs on exhibition at Australia’s Heide Museum of Modern Art, featuring the exceptional talent of four photographers whose images capture people, places and events with candid intimacy.  Up Close traces the significant legacy of Australian photographer Carol Jerrems (1949–1980) alongside that of contemporary artists Larry Clark (USA), Nan Goldin (USA) and William Yang (Sydney).  The collection takes its inspiration from the way each artist candidly depicts a social milieu and urban life of the 1970s and early 1980s.  Sharing an interest in sub-cultural groups and individuals on the margins of society, each artist reveals a remarkable capacity to provide an empathetic glimpse into semi-private worlds through intimate depictions of people and their surroundings.

Jerrems’ photography was associated with a feminist and political imperative, a preoccupation with  subcultures, forgotten and dispossessed groups, especially Aboriginal communities of the time.  Larry Clark unflinchingly turned the camera onto himself and his amphetamine-shooting coterie to produce Tulsa (1971), a series of photographs repeatedly cited for its raw depiction of marginalized youth.  With its grainy shot-from-the-hip style, Tulsa exposes a world of sex, death, violence, anxiety and boredom capturing the aimlessness and ennui of teenagers.

Larry Clark’s work influenced Nan Goldin and a whole generation of artists who aspired to break with the more traditional documentary modes.  Mining the emotional depths of her friends, lovers and family, Goldin’s work reveals a riveting intimacy while  uncovering the bohemian life of New York’s Lower East Side.  Goldin says, “I was documenting my life.  It comes directly from the snapshot, which is always about love.”

William Yang’s photographs from the 1970s further the snapshot aesthetic through journeying into the intimate world of his particular social milieu: drag queens, Sydney gay and inner-city culture.  Yang’s direct, unpretentious photographs provide a unique chronicle of marginalised groups especially as he put it: “…people who are gay, who were invisible, who were too scared to come out.  During gay liberation people became visible, people became politicized, and there was a Mardi Gras that was a symbol of the movement.”

Girl in a Mirror: A Portrait of Carol Jerrems

Tulsa: The Photography of Larry Clark

Slide Show: Up Close/Photographs of Candid Intimacy

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