At the core of Melissa Ann Pinney's work lies a series of photographs of Pinney's daughter Emma, as she moves through childhood to the verge of adolescence. The project swirls out from there, through friends and classmates, past their families, neighborhoods, social rituals and community lives, to develop a richly nuanced study of emerging female identity, with its promises and perils.
Pinney continues to follow those narratives, and the themes contained within them. The work focuses on a touchstone moment in the lives of American girls and women: their emergence from protected youth to public maturity. In these pictures, by turns hauntingly evocative and closely focused, Pinney portrays the uneasiness of that emergence-in the struggle to fit ideal dresses to real bodies, proper etiquette to ebullient energies and appetites, natural companionship to formal conversation as the girls of a certain class prepare themselves for the rest of their lives and some of their first social contacts with boys. "The strength of Pinney's work has always lain in her ability to sympathetically inhabit the lives of her subjects, while understanding their place in the larger ebb and flow of social life around them," photographic and cultural historian Peter Bacon Hales has written. "The pictures are so often gorgeous in their manner, and heartbreaking in their implications; rarely do we see photographs that can imply so much without intruding or announcing their intentions."
Part of the force of these pictures comes from the painstaking perfection of the color prints that Pinney makes from her negatives. Colors glow; mirrors snap with reflected light, skin and cloth seem tangible; figures emerge from dark spaces or drape themselves uneasily on furniture which gleams with polish and floats within the plush environments where these girls and their consorts learn to enact the rituals of appearance.
Melissa Ann Pinney's closely-observed studies of the social lives and emerging identities of American girls and women have won the photographer numerous fellowships and awards, including a Guggenheim Foundation Grant. Her work has been included in many major museum exhibitions including The Museum of Modern Art's "Pleasures and Terrors of Domestic Comfort" and, most recently The Chicago Art Institute's "Girls on the Verge" exhibition in 2008, which included work by Rineke Dijkstra, Lauren Greenfield and Judith Joy Ross.
"Mon coin d’Artois, près d’Arras, étend sa vaste plaine entre Duisans, Warlus, Agnez, Haute-Avesnes… Les terres y ont pris noms, à l’origine mystérieuse, Chemin Malfait, les Longs Dix, la Grande Couture, les Correttes, la Voie des Tourelles, le Fond de la Maie, les Fourdraises, la Couturelle… et Bout du Monde, le bout de mon monde...
Naomi White's Soap War features a faux bathroom made out of cardboard. On the mirror a sign says "No more soap girls! It was STILL being wasted". Her graduating series Out the Back explores work environments and their effect on employees. She has re-created the otherwise off limits staff areas using the packaging material that one might find there. The banal, neutral ...
The oldest known image of the camera obscura principle (1545), the original camera belonging to painter George Hendrik Breitner, daguerreotypes over 150 years old: Leiden University's photographic collection is unique in many ways. It is both the oldest and the largest museological photography collection in the country, telling the whole story of the emergence and development of photography. It...
1294 SUNSET is pleased to announce the opening of a solo exhibition, Aperture Fiction, by Marie du Petit Thouars
The 13 works exhibited demonstrate the elusiveness of Marie du Petit Thouars' s photography, with the common thread being an atmosphere of solitude. Each of her subjects move independently from the next, but seem to dance together in a familiar loneliness.
The exhibition represents a new challenge for the artist, enabling her personal sensibility to emerge, although it also marks the social aspect of her artistic quest. In her art, the collective nature of work is at the heart of a methodology based primarily on 'participation' rather than collaboration, where the artist plays the role of mediator (featuring).
Après sa participation à l’exposition collective “Découvrir-Confirmer” dédiée à la découverte de
jeunes artistes vivant et travaillant dans la région Rhône-Alpes Bénédicte REVERCHON avait réalisé
et présenté en exposition monographique, “Les lumièr...
Le thème de cette exposition se concentre principalement sur une approche de la montagne, de la transformation du paysage alpin et "portraits" de sommets, remarquables pour une raison ou pour une autre. Façonnage de la Nature laissant des empreintes, cônes de déjections d'avalanches, éblouis et fonte de glaciers. Des images NB et couleurs, tirages sur...
Organized by REDCAT Gallery Director and Curator Clara Kim and Doryun Chong, Associate Curator of Painting and Sculpture at The Museum of Modern Art in New York, this exhibition brings together the work of Seoul-based Korean artist Park Chan-Kyong and Tokyo/Kiev-based American artist Sean Snyder. The two artists first met in Germany in 2002, and their shared interest in North Korea and the poli...
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