The highlights from one of Europe’s most significant festivals dedicated to photography and visual arts, taking place in the south of France until 24 September.
The 54th edition’s theme, “A State of Consciousness”, underscores the festival’s dedication to exploring the various ways photography can serve as a means to document and contemplate the world that surrounds us.
The participating photographers and curators of the festival guide us in perceiving the profound transformations that our world is presently undergoing. Their focal points encompass critical issues such as climate change, and the rights of women and minority groups, eloquently capturing the essence of being a member of the LGBTQIA+ community, a middle-class Indian woman burdened by societal pressures, or the ongoing aftermath of Iran’s Islamic revolution depicted through narratives of exile.
Continuing to build upon its previous editions, the festival also ardently delves into the uncharted aspects of American society, illuminating the behind-the-scenes reality that remains obscured by the artifice of mainstream narratives. This immersive exploration yields a profound comprehension of the contemporary and historical daily lives of Americans, peeling back layers typically masked by the façade of prevailing concepts like the American Dream.
It is worth noting, in a somewhat surprising turn, that the extensive impact of Russia’s invasion of Ukraine, now in its second year, along with its far-reaching implications for civilians, ecology, and culture, as well as the global refugee movement, did not command significant attention within “A State of Consciousness.”
Presented here are notable highlights from this year’s edition of Rencontres d’Arles.
In his work, Gregory Crewdson provides a cinematic yet intimate portrait of suburban USA in a twilight setting of fading dreams. All the attributes of daily life are present in the powerfully staged photographs the author is famous for. The human in the centre of this universe looks lost but also at home. Are they still in control? Do they still dream?
The exhibition offers some of the most famous of Crewdson’s series shot between 2012 and 2022 – ‘Cathedral of the Pines’, ‘An Eclipse of Moths’ and ‘Eveningside’ shown for the first time in France. Romantic, political and autobiographic at the same time, the trilogy is introduced by the photographer’s work ‘Fireflies’ from 1996. The elaborate postproduction, common for his later work, is not present here. It is a gentle and intimate invitation to observe and contemplate.
The exhibition by Poland’s Zofia Kulik invites us into a truly unique universe. Approach it with a rested mind, as the artist’s intricately detailed photographic compositions, encompassing a myriad of elements – symbolic poses of models, flowers, skulls, ornamental objects, and draperies – promise to guide you on a fulfilling journey that you wouldn’t want to overlook. Every aspect is purposeful: the expansive visuals are meticulously crafted using the artist’s distinct techniques, narrating tales of totalitarian political regimes, mortality, patriarchal culture, and human relationships.
Nieves Mingueza reimagines the concept of evidence in cases of gender-based crimes, occurrences often confined within private spaces or evading conventional measures of proof. Through her project ‘One in Three Women’, she manipulates images, integrates text from UN reports, and incorporates domestic interiors to illuminate the oppressive environment that governs women’s lives. Mingueza challenges us to redirect our focus away from the women themselves and onto the patriarchal landscapes enabling violence. These images reveal the limitations of photography as mere evidence, prompting a reassessment of our interpretation of family archives. The work confronts the tension existing between visible information and concealed narratives, the demands of justice, and the insufficient outcomes in instances of gender-based violence.
The Exhibition Casa Susanna opens the doors to the intimate lives of a minority of crossdressers in America’s 1950s-60s, thanks to the discovery of 340 prints at the New York flea market in 2004. The images stand out as they portray men dressed as women, assuming identities as “respectable” housewives and the girl next door from seven decades ago.
Behind the photographs lies a hidden network of crossdressers, who were fathers and professionals in the white American middle class. In a time of strict gender norms and societal segregation, they found solace in correspondence, ran an underground magazine named Transvestia, and held meetings in the safe haven of Casa Susanna, the home of Susanna and her wife Marie – located a few hours away from New York. The exhibition explores their collective identity and defiance against archaic masculinity, highlighting their significance as the first-known trans network in the US.
The exhibition curators, Isabelle Bonnet and Sophie Hackett, say they have tried to strike a balance between historical facts, the ways the individuals in the Casa Susanna circle self-identified, and the contemporary awareness of a spectrum of gender identities.
The exhibition, whose name translates to ‘Sisterhood’ in English, brings together photographers from Denmark, Finland, Iceland, Norway, and Sweden. It highlights the influential role of local photographers and offers feminism’s perspective on the ‘Nordic model,’ which represents the politics of a welfare state that has provided social security and welfare services to all citizens since the 1980s. This system has improved living and working conditions while promoting openness, tolerance, and equality.
The project delves into the relationship between the subjective, collective, and political aspects of the political system, exploring topics such as family life, gender roles, labour, ethnicity, and colonialism. Moreover, it addresses the darker aspects of the welfare state, including the environmental impact of continuous economic growth.
‘Between Our Walls’ is a photo-based research project that narrates the story of a house in northern Tehran, constructed during the 1950s by a middle-class family. Following the Islamic Revolution of 1979, the family left Iran, leaving the house and its objects behind, hoping for a homecoming that never happened.
The project explores the dialogue between architecture, interior design, domestic objects, correspondence, and the family’s photo archive. It symbolises the course of modernisation and radical changes in Iranian lifestyle during the 1950s and 1960s, and offers a glimpse of a lifestyle that disappeared amidst the developments of the Islamic Revolution.
Rencontres d’Arles lasts until 24 September.
NEWS RELEASE
GOVERNOR JARED POLIS
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Governor Polis and the Business Support division of the Colorado Office of Economic Development and International Trade (OEDIT) announced the 40 recipients of the digital marketing grant that is distributed through the Small Business Accelerated Growth Program. This grant awards small businesses in Colorado $5,000 to help business owners across the state establish an online presence with a focus on social media and website best practices.
“Small businesses help Colorado’s economy thrive and programs like this help support their continued success. I am thrilled to announce the 40 grant recipients from every corner of our state from La Plata County to Morgan County,” said Governor Polis. “As a businessman, saving small businesses money is a top priority.”
The Digital Marketing and Online Presence training course supports small business owners by teaching them the fundamentals of online marketing allowing them to promote their products and reach new customers. Business owners learn a variety of ways to establish an online presence, including best practices to increase website traffic, improve user experience, and develop e-commerce websites to help their businesses grow.
A total of $200,000 in grant funding has been distributed to 40 small business owners across the state. Among the recipients, 67.5% identified as woman-owned, 45% identified as minority-owned and approximately 22% of business owners came from rural communities.
“We are pleased to support so many women- and minority-owned small businesses across the state,” said OEDIT Executive Director Eve Lieberman. “This latest round of grant recipients showcases the work we are doing to ensure that we are reaching communities that have historically faced barriers to business funding. We are proud to support our entrepreneurs which have successfully reached so many women and minority owned small businesses.”
The Digital Marketing and Online Presence training course is one of three training programs offered through the Small Business Accelerated Growth Program which helps small businesses across Colorado grow and improve their business plans through free training, education and consulting. Small businesses can apply for any of the three online training programs which include: access to capital, market research, and digital marketing and online presence. After completing the seven-week training course, 40 participants were selected to receive grant funding to make changes based on strategies learned from the program. The Small Business Accelerated Growth Program was created by SB21-241, sponsored by Senators Rhonda Fields and Jeff Bridges and Representatives Naquetta Ricks and Lindsey Daughtery. The program is implemented in partnership with the Colorado Small Business Development Center (SBDC) network.
“Our SBDC experts are excited to help businesses navigate the world of digital marketing. Small business owners learn everything from establishing a social media presence to understanding the best ways to increase website traffic, and building an e-commerce experience. The lessons taught in this course equip business owners with the tools to operate in a 21st century environment and find the right customers,” said Marcia McGilley, Executive Director, Aurora-South Metro SBDC.
The 40 grant recipients announced today include:
Registration for the second round of the Digital Marketing and Online Presence training course is open now through August 20, 2023. Eighty participants from the second round of training will be selected to receive Digital Marketing and Online Presence grants of $5,000 each. Interested businesses can learn more about the Small Business Accelerated Growth Program at https://oedit.colorado.gov/growth and sign up to receive email notifications as future rounds open for applications.
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In today’s age, billions of photographs are uploaded to the internet. We’re accustomed to it. It’s the norm. However, like anything on this planet, it started somewhere and some time. Photography was invented in 1822, 39 years before the opening shots of the American Civil War. Digital photography made its appearance 48 years ago. Comparing this, you can say digital photography has been barely a thing even though it’s something that’s such a staple in today’s world. But to those that lived in the mid-19th century, photography was a thing of magic.
We’ve all seen them. Flipping through history textbooks in school. Photographs from the American Civil War have become iconic. However, when you learn that the conflict was the first to utilize this medium, it’s almost hard to believe. After all the American Civil War, seemed like a long time ago. So with that, photography has been around since a long time ago. But at the time, it was in its infancy and this war, pitting the Union against the Confederacy, not only marked a turning point in American society but also played a pivotal role in shaping the trajectory of photography. For the first time in history, photographers ventured to the battlefields, capturing scenes of the war and its aftermath, forever changing the way the world would perceive war.
Among the many historical figures who played a crucial role in preserving the war’s legacy was Matthew Brady, a pioneering photographer known for his exceptional documentation of the conflict. Brady’s contribution to the visual record of the Civil War was groundbreaking. Often referred to as the “Father of Photojournalism,” Brady and his team of skilled photographers were granted permission by President Abraham Lincoln to document the war effort. Brady’s dedication and passion for preserving the historical record led to some of the most iconic images of the war.
The photographs taken by Brady and others such as Alexander Gardner, during the Civil War had a significant impact on public opinion, both within the United States and abroad. Until then, war had been depicted through illustrations and paintings, which often portrayed heroic scenes rather than the stark realities of combat. The introduction of photography changed this narrative, offering an unvarnished and unfiltered look into the horrors of war.
Much like today’s photojournalists, these pioneers of photojournalism humanized the individuals fighting the conflict. People saw the faces of the young men leaving their homes to fight, and the portraits of weary soldiers showed the toll of that war. Their photographs challenged the glorification of war that was common at the time. Instead of idealized portrayals of battlefield heroism, the public was confronted with the harsh reality of life and death on the frontlines. And finally, they provided a visual historical record that went beyond words. These images became invaluable resources for future generations and provided historians and educators with the resources to paint a more comprehensive and nuanced picture of this pivotal period.
The American Civil War was the first conflict to be extensively photographed, thanks to the pioneering work of photographers like Mathew Brady and Alexander Gardner. And in the video above, brought to you by the American Battlefield Trust, you can get a quick 4-minute introduction to this birth of photojournalism.
EDMONDS, August 6, 2023—The Native American Modern: Shared Expressions in Northwest Art is now on exhibit until October 29, 2023, at the Cascadia Art Museum. This exhibition is the first to center around the art of Julius “Land Elk” Twohy (Two-vy-nah-auche) (1902 – 1986) and his local contemporaries. One of the region’s earlier modernists, he was best known for his paintings and prints created in Seattle through the Federal Art Projects of the 1930’s and 40’s.
Twohy, (Ute) and his younger contemporary, Delbert J. McBride (Cowlitz/Quinault 1920-1998), produced fascinating art and objects utilizing modern and abstract designs inspired by their Native American heritage. Their works will be displayed alongside non-native contemporaries such as Worth D. Griffin (1893-1981), R. Bruce Inverarity (1909–1999) and others who were highly influenced by Northwest indigenous design and culture. These artists worked side by side and received acclaim in their own individual fields.
Cascadia Art Museum is located at 190 Sunset Ave S., Edmonds is operating hours are Wednesday – Sunday from 11 a.m. to 5 p.m.
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Why is only 10% to 15% of the art work in U.S. galleries and museums created by women? Why are women artists only earning 10 cents on the dollar compared to men?
Women are as well represented in the art world as their male counterparts in roles like administrators, curators, museum board members, gallerists, collectors, museumgoers.
Just not as artists.
An ArtWeek interview Thursday on the rooftop of the Aspen Art Museum, where Nicola Lees is the director, brought this to the fore as ARTnews Editor in Chief Sarah Douglas interviewed Komal Shah, among the top 200 art collectors in the world and co-editor of the book showcasing her collection, “Making Their Mark, Art by Women in the Shah Garg Collection.”
Komal talked about how she came to America from India 32 years ago to study computer science and then got into collecting art by women artists working predominantly across North America from the late 1960s to the present. She referred to herself as an activist collector of women by seeing the intergenerational importance of older and younger female artists.
In 2014, learning about the works of two women and meeting artists, she decided that if she was going to be spending her money, she’d better be making a difference. Komal stressed how important it was to her to go back several generations to understand these women.
One was the Ukrainian-born American abstract expressionist painter Janet Sobel, who made drip paintings in the mid-’40s. Jackson Pollock saw her work and reportedly was impressed. Three years later, he began to make the drip paintings that made him famous.
“This example is not about grudges, but about the fact that the market makers and the art critics have had certain tastes and certain prejudices, and they’ve in a way tilted the art market towards their preferences,” said Komal. “I think we are now in a world where we can balance out those political voices to actually pay attention to what’s good, not just based on personal biases.”
Douglas and Shah discussed Suzanne Jackson, a black visual artist whose two-year stint in her Sapphire show pigeonholed her for years and kept her from being recognized for her later work. And how the lesbian abstract painter of the ’60s, Louise Fishman, was ostracized.
They talked about how women artists often don’t seem to find their freedom and expression until later in life.
Shah said that when Jackson was asked what drove her, she replied, “I just wanted to make one painting better than my previous one.”
“So all she was looking at was her previous work as a competitor, not for the recognition that you can get from society,” Shah said. “I think that was telling us something. It struck me as sad and noble — sad that women have had to endure this. More women than men have endured the lack of recognition until they are much older.”
Douglas remembered a panel she was on in 2010, when women made up half the students at art school, and the title was “Girls Just Want To Have Funds.” The percentage of women artists’ work in galleries then, as now, was low.
She said someone on the panel made an off-the-cuff remark that stuck with her: “I think it has to do with socializing.” Going into the value of networking for an artist when women have children, they find less time to get out and about. There’s a gap in the momentum of their work, and many women stop pursuing their art careers.
“It’s not that women artists are not excellent, but we have work-life balance issues, we have stereotypes, we have an ecosystem, which does not support the artist. I think there are a lot of factors at play,” Komal said.
When the panel Douglas remembered had ended, devotees came up to share their experiences and ask questions.
After this interview was different, much different.
A female painter, Alina Orav, was emotional and left to take the museum elevator down alone. She later recounted that she had to go and cry.
The Estonian artist who moved to America this spring said she could relate to everything Komal said. Her motherhood experience changed her whole practice, she said, and now she creates paintings empowering women depicting birth. Her most recent piece is a flowered vagina, titled “Ashes,” a homage to stillbirth and loss.
Orav thanked Komal, saying, “I really appreciate how much you care and what you had to say. It meant so much to me. You spoke for us, artists, mothers.”
A half-hour after their interview, another artist came up to Douglas — Jen Meyer, a mother from Colorado Springs who choked up while sharing what came up for her: “I felt like I was seen. Thank you, thank you. I have been sharing the magnitude of this struggle with my husband.”
