Keith Haring, Kanagawa and Georgia O'Keeffe: highlights from NYC's Photography Show
Photograph: Hellen van Meene/Courtesy Yancey Richardson Gallery
Reflection of the Empire State, New York, 2013. Photograph: Aldo Sessa/unGallery
Keith Haring Pop Shop, 1986. Photograph: Tseng Kwong Chi/Muna Tseng Dance Projects Inc/Keith Haring Foundation/Courtesy Yancey Richardson Gallery
Easter Sunday, Harlem, New York, 1947. Photograph: Henri Cartier-Bresson/Fondation Henri Cartier-Bresson/Magnum Photos/Courtesy Peter Fetterman Gallery
Xiao Wen Ju with Hokusai's Great Wave off Kanagawa, Eglingham, Northumberland, 2012. Photograph: Tim Walker/Michael Hoppen Gallery
Georgia O'Keeffe and Cheese. Photograph: Tony Vaccaro/Monroe Gallery of Photography
American Color 2 (Daytona Beach, FL), 1997. Photograph: Constantine Manos/Courtesy Robert Klein Gallery
Self-Portrait While Buried #1, 2021. Photograph: Jenny Calivas/Courtesy Yancey Richardson Gallery
Rakan Girls in Moonlight, Jordan, 2024. Photograph: Nick Brandt/Gilman Contemporary
Photograph: Luis González Palma/jdc Fine Arts
Photograph: Flor Garduño/Throckmorton Fine Art
Photograph: André de Dienes/Michael Hoppen Gallery
Manos de Berta Singerman, 1950. Photograph: Annemarie Heinrich /Vasari
Photograph: Cara Romero/Scheinbaum & Russek Ltd
Island Boy, Daufuskie Island, South Carolina (boy in tree), 1952. Photograph: Constantine Manos/Courtesy Robert Klein Gallery
Photograph: Jan C Schlegel/Echo Fine Arts
Phone Line (Self-portrait), 2019. Photograph: Tania Franco Klein/Rosegallery
Photograph: Bryan Schutmaat/Sasha Wolf Projects
Peggy Guggenheim in Venice, Italy, 1968. Photograph: Tony Vaccaro/Monroe Gallery of Photography
Photograph: Anthony Barboza/Courtesy 19th Century Rare Book and Photograph Shop
New York City (Dog Legs), 1974. Photograph: Elliott Erwitt/Magnum Photos/Courtesy Staley-Wise Gallery
Photograph: Marilyn Minter/Courtesy Yancey Richardson Gallery
Photograph: Zig Jackson/Artist Rights Society (ARS), New York
Photograph: Zanele Muholi/Courtesy Yancey Richardson Gallery
Photograph: Paul Cupido/Courtesy Peter Fetterman Gallery
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The Guardian
23-05-2025
- The Guardian
Sebastião Salgado captured the world like no other photographer
It's a testament to the epic career of Brazilian photographer Sebastião Salgado, who died this week at age 81, that this year has already seen exhibitions of hundreds of his photos in Mexico City, France and southern California. Salgado, who in his lifetime produced more than 500,000 images while meticulously documenting every continent on earth and many of the major geopolitical events since the second world war, will be remembered as one of the world's most prodigious and relentlessly empathetic chroniclers of the human condition. An economist by training, Salgado only began photographing at age 29 after picking up the camera of his wife, Lélia. He began working as a photojournalist in the 1970s, quickly building an impressive reputation that led him to the prestigious Magnum Photos in 1979. He spent three decades photographing people in modern societies all over the world before stepping back in 2004 to initiate the seven-year Genesis project – there, he dedicated himself to untouched landscapes and pre-modern human communities, a project that would guide the remainder of his career. His late project Amazônia saw him spend nine years preparing a profound look into the terrain and people of the Amazon rain forest. In 2014 the German director Wim Wenders teamed up with the photographer's son Juliano Ribeiro Salgado to co-produce a documentary celebrating Salgado's work titled The Salt of the Earth. While covering 40 years of Salgado's creative output, the film also centers around his decision to temporarily abandon photography after witnessing firsthand the horrors of the Rwandan genocide. Amid that crisis he founded his Instituto Terra in 1998 – ultimately planting hundreds of thousands of trees in an effort to help reforest Brazil's Rio Doce valley – and through his communion with the land slowly pieced his way back to photography. Salgado tirelessly, and probably also recklessly, threw himself into his work – while documenting Mozambique's civil war in 1974 he ran afoul of a landmine, and later, in Indonesia in the 1990s, he caught malaria, leading to ongoing medical issues for the remainder of his life. He spent nearly two months walking Arctic Russia with the Indigenous Nenets, encountering temperatures as cold as -45C, and he also recounted walking nearly 1,000km through Ethiopia because of the lack of roads. Late in life, Salgado was forced to have a surgical implant in order to retain use of his knee in the course of making his Amazônia project. His biblical landscapes are often taken from thousands of feet in the air – one imagines him leaning out of a helicopter, angling for the perfect framing. He was known for utilizing virtually every mode of conveyance available in pursuit of the new and unseen – car, truck, ship, helicopter, plane, even canoe, hot-air balloon, Amazon riverboat and others. Prints of Salgado's work – always black and white, and generally printed at a dazzlingly high contrast – were as sizable as his ambitious, landing as overwhelming presences in galleries and museums. He was known for blacks that were as inky as they come, and his landscapes also show a remarkable obsession with rays of light shining through rainclouds, around mountains and off of water. He loved the graininess that came from film – so much so, that when he finally traded in his trusty Leica for a digital camera, he often digitally manipulated his images to bring in a grain reminiscent of real film. For as much as Salgado was a photographer of extremes, he could also do tonal nuance – many of his landscapes are only capable of capturing their terrain's immensity due to his careful use of mid-tones, and Salgado's human portraiture often abandoned the high contrast for a rich subtlety. No matter how enormous his subjects were, he always retained a remarkable human touch. When photographing Brazil's Serra Pelada gold mine he made images showing the workers as thousands of ants scrambling up perilously sheer walls of dirt, yet also captured indelible expressions of effort and pride on the faces of individual, mud-soaked laborers. His image of the Churchgate train station in Bombay, India, shows thousands of commuters in motion, looking like a literal flood of humanity surging around two waiting trains. One snap of a firefighter in Kuwait working to cap the oil wells that Saddam Hussein set ablaze shows a man hunched over in a posture of utter exhaustion, one of countless examples of Salgado's incredible ability to limn the human form via film. Given everything that Salgado shot over his incredible six decades of work, it's hard to imagine what else he could have done. Upon turning 80 last year, he had declared his decision to step back from photography in order to manage his enormous archive of images and administer worldwide exhibitions of his work. He also showed his dim outlook for humanity, telling the Guardian: 'I am pessimistic about humankind, but optimistic about the planet. The planet will recover. It is becoming increasingly easier for the planet to eliminate us.' It will probably take decades to fully appreciate and exhibit Salgado's remaining photographs, to say nothing of grappling with the images he showed during his lifetime. One hopes that amid a period of increasing global strife, environmental collapse and threats to the mere notion of truth, this remarkable output will remain a beacon of decency and humanity – and help us chart a path back from the brink.
Reuters
23-05-2025
- Reuters
OBITUARY Brazilian photographer Sebastiao Salgado dead at 81
SAO PAULO, May 23 (Reuters) - Sebastiao Salgado, the Brazilian photographer whose black-and-white images of workers, migrants, and humanity's conflicted relationship with nature captivated the world, has died at the age of 81, the nonprofit he founded said on Friday. Salgado was born in Aimores, a city in the state of Minas Gerais in Brazil in 1944. An economist by training, he became a photographer in the 1970s while living in Paris, after fleeing the military regime that then ruled Brazil with his wife, Lelia Wanick Salgado. He traveled the world with his camera and quickly rose through the ranks of photo agencies, eventually becoming one of Magnum's star photographers. A 1987 photo essay of thousands of half-naked men digging through the immense mine of Serra Pelada, in northern Brazil, formed part of his landmark Workers series, in which he also documented oil workers in Kuwait and coal miners in India. 'It was madly ambitious, and I struggled to think how to even begin pitching the idea to editors in London,' his agent Neil Burgess wrote in a 2019 essay in the British Journal of Photography. And, yet, after seeing his work portraying gold miners, several of the world's top magazines wanted to fund it, he added. Salgado went on to publish a number of ambitious and epic projects. In Exodus, from the 2000s, he spent years photographing the grueling journeys of migrants around the world. In Genesis, in the 2010s, he captured monumental scenes of nature, animals, and Indigenous people. And in Amazonia, his most recent project, he spent years traveling through the world's largest rainforest to capture some of the planet's most remote treasures and the communities that protect them. His critics accused him of exploiting an 'aesthetic of misery' as he photographed some of the world's poorest in their most vulnerable moments. 'They say I was an 'aesthete of misery' and tried to impose beauty on the poor world. But why should the poor world be uglier than the rich world? The light here is the same as there. The dignity here is the same as there,' he told The Guardian in a 2024 interview. To Burgess, he did quite the opposite, by capturing the dignity of his subjects at their moment of need. 'This might well be enhanced by his use of black-and-white as a medium, but it's more to do with two other qualities that Salgado has in large measure: patience and curiosity,' he wrote. In 1998, Salgado and his wife founded a nonprofit, Instituto Terra, to restore the native Atlantic Forest, one of Brazil's most threatened, on their old family farm. On Friday, President Luiz Inacio Lula da Silva gifted a Salgado photo to Angolan President Joao Lourenco, in Brasilia for a state visit. It was a coincidence, Lula said. "His discontent with the fact that the world is so unequal, and his unwavering talent in portraying the reality of the oppressed, has always served as a wake-up call to the conscience of all humanity," Lula said in a statement. "For this very reason, his work will continue to be a cry for solidarity. And a reminder that we are all equal in our diversity."
Daily Mail
14-05-2025
- Daily Mail
My perfect affair: For six glorious years, I've followed these five rules for not getting caught. My partner and his wife still have no idea...
Before you judge me, just know this: it was never my intention to become the other woman. I was simply young and having fun when my life took a turn I was never expecting.
