Glenna Goodacre, who died in 2020 at age 80, sculpted the masterpiece in her Santa Fe studio.
Santa Fe artist’s sculpture on National Mall honors women who served
Photography invades Paris 2023 by Thierry Maindrault – The Eye of Photography Magazine
La Fondation Carmignac, CatchLight et Dysturb présentent la première édition de la NUIT DU PHOTOJOURNALISME, un événement ouvert à tous qui célébrera l’innovation dans le journalisme visuel dans le cadre du festival PhotoSaintGermain. Rassemblant 190 photographes, journalistes, éditeurs photo, organisations visuelles, collectifs et créateurs de contenus numériques, la NUIT DU PHOTOJOURNALISME proposera des conversations sur l’intelligence artificielle et le photojournalisme, les préjugés culturels, le “female gaze” dans la photo et…
Native American Fashion Show headed to Northern Quest
Indigenous designers and models will take over the catwalk for the inaugural Native American Fashion Show.
SPOKANE, Wash. — This Sunday, the Pavilion Dance Floor will transform into a runway.
Thea Garcia is one of the minds bringing Native fashion to Northern Quest‘s first runway.
“Wanted to focus on bringing a fashion show to Native American Heritage Month other than dancing or featuring artists,” Garcia said.
Indigenous designers and models will take the catwalk for the inaugural Native American Fashion Show.
“We’ve been tinkering and it all kind of started with me doodling,” Designer David Markalene said.
Like the Madera family from Wellpinit, and it really is a family brand.
“He does all the animals and all that. He does geometric, yeah. He draws all these things and I bead them or sew them,” Designer Markalene Madera said.
Heritage, and maybe something more, in each hand stitch.
“You can’t sew, you can’t bead when you’re angry or upset or anything,” Daven Madera said. “You got to bead with good intentions because it’s like a medicine that gets put into your outfit.”
And with the growing popularity of Indigenous fashion, it’s becoming about growing out from the Pow Wow Regalia where these home designers first started.
Viewers will see some of their art playing tradition against contemporary.
“It’s kind of a piece of our culture that we can just carry with us in every day life,” Garcia said.
“When you put on a ribbon skirt, just the pride you have in yourself and the empowerment,” Markalene Madera said.
With designers from different tribes and regions coming together for the show, it’s a way for everyone to share in the story and learn something new.
“Native American heritage for us is we’re learning from each other too,” David Madera said.
“Going from a time where it was illegal to portray our traditions, our culture, our ways and now to see it promoted, it’s an honor,” Markalene Madera said. “And I feel like there’s hope for the future that we can just be ourselves.”
The Native American Fashion Show is this Sunday at six inside the Pend Oreille Pavilion. Click here to learn how to get tickets.
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Area in Downtown LA dubbed ‘Indian Alley’ transformed into artistic place of pride
Saturday, November 11, 2023 12:36AM
DOWNTOWN LOS ANGELES (KABC) — A stretch of alley in Downtown L.A. has been nicknamed “Indian Alley” because of its location next to an outreach center that provided support for the Native American population in the 70s through 90s. The Alley is covered with murals depicting a sometimes difficult history. Now artists are working to make it a place of pride.
Artist Votan Ik is walking us through the historic district, a place that’s beautified with murals that reflect an ugly past when thousands of natives were brought to the city through the Relocation Act.
“A lot of the folks ended up on the streets and this alley is famous for that,” said Votan.
Now, generations later, it’s been transformed to represent something new, in large part, due to art.
“It has a whole different feel to it because now it’s a sense of pride because some of these folks had to survive those experiences and we wanted to lend a voice to that as well,” said Votan.
Votan doesn’t just do this with murals. He also creates mugs, t-shirts, sweaters and other products to pay homage to his Mayan roots. His brand, “Nsrgnts,” became a collective with other artists, representing indigenous people from across the continent.
“I saw that there was no representation absolutely for indigenous people so all of my projects were based on indigenous movements or identity or political views,” said Votan. “To be honest with you, I just felt like there was a void, an absence where we should be able to come forth and be part of society, man it was built on our backs, on our lands.”
He hopes that during this Native American Heritage Month, the imagery can help create a dialogue.
“That people are curious about who this is, or all the other pieces of work, or why does it say ‘Land Back’? Like what is that? We want to have those conversations,” said Votan.
Copyright © 2023 KABC Television, LLC. All rights reserved.
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Area in Downtown LA dubbed ‘Indian Alley’ transformed into artistic place of pride
Monday, November 13, 2023 9:12PM
DOWNTOWN LOS ANGELES (KABC) — A stretch of alley in Downtown L.A. has been nicknamed “Indian Alley” because of its location next to an outreach center that provided support for the Native American population in the ’70s through the ’90s.
The Alley is covered with murals depicting a sometimes difficult history. Now artists are working to make it a place of pride.
Artist Votan Ik walked us through the historic district, a place that’s beautified with murals that reflect an ugly past when thousands of natives were brought to the city through the Relocation Act.
“A lot of the folks ended up on the streets and this alley is famous for that,” said Votan.
Now, generations later, it’s been transformed to represent something new, in large part, due to art.
“It has a whole different feel to it because now it’s a sense of pride because some of these folks had to survive those experiences and we wanted to lend a voice to that as well,” said Votan.
Votan doesn’t just do this with murals. He also creates mugs, T-shirts, sweaters and other products to pay homage to his Mayan roots. His brand, “Nsrgnts,” became a collective with other artists, representing indigenous people from across the continent.
“I saw that there was no representation absolutely for indigenous people, so all of my projects were based on indigenous movements or identity or political views,” said Votan. “To be honest with you, I just felt like there was a void, an absence where we should be able to come forth and be part of society, man it was built on our backs, on our lands.”
He hopes that during this Native American Heritage Month, the imagery can help create a dialogue.
“That people are curious about who this is, or all the other pieces of work, or why does it say ‘Land Back’? Like what is that? We want to have those conversations,” said Votan.
WATCH: Native American cultures embrace drumming as a path to heal
Native American women come together every month to heal with the sound of drumsDrumming is an integral part of Native American cultures. The echoing sound of drums offers a spiritual connection for Native American women.
Copyright © 2023 KABC Television, LLC. All rights reserved.
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The images that capture Glasgow’s cultural melting pot
Simon MurphySimon Murphy was standing on Victoria Road, in the bustling south side of Glasgow, when he spotted a girl walking towards him with a cat round her neck.
Asked where she was off to, Eliza told the award-winning photographer: “I’m going to Farmfoods.”
Murphy found out where she lived, knocked on the family’s tenement flat window and spoke to her mother.
He then set up his tripod, adjusted his medium format camera and captured a striking street portrait.
It is now one of more than 150 black and white images which feature in Govanhill, a new exhibition celebrating one of Scotland’s most diverse communities.
An estimated 88 languages are spoken in the densely populated area, which covers about a third of a square mile or 85 hectares.
The community has been close to Murphy’s heart since his grandmother moved there from the nearby Gorbals in the early 1970s.
It has even been compared to New York’s Ellis Island, as a point of arrival for immigrants who travel to Glasgow seeking a better life.
The photography lecturer told BBC Scotland News: “People used to say there were two sides to Govanhill – Bengal and Donegal.
“It is a real melting pot of different nationalities and cultures.”
In 1999 Murphy rented a flat in the area before taking on his first job, as a postman in nearby Clarkston.
He later sold his guitar to buy his first camera in Cash Converters for £50 before enrolling on a photography course in the city’s Springburn.
Since then he has spent more than two decades taking pictures of Govanhill residents and people who were simply passing through.
Asked how he selects his subjects, Murphy said: “It’s all about wandering. I might see someone who looks a bit interesting.
“It’s definitely a visual thing. It could be a haircut, a guy who looks craggy or something slightly off kilter.”
The father-of-two started his street portrait project in 2016 and, during the Covid lockdown, he created a window trail exhibition featuring 25 images.
One of his most celebrated pictures features Paisley, whom he met with her young son in McDonalds.
He said: “She was wearing a camouflage jacket and had amazing hair.
“Paisley featured in my first exhibition and came to represent the project.
“She has a ‘People Make Glasgow’ badge and there is an attitude, a defiance and a strength there that I feel sums up the people of Govanhill.”
In Sara’s case it was her over-sized fur coat that caught his eye.
Murphy recalled: “It looked amazing and turned out it belonged to her mum.
“Sara was popping out to the shops and when shops are so close by people sometimes grab the first thing that is lying at the door.
“I imagine that the mum’s coat was the closest thing to hand.
“I loved it and thought it made Sara look very regal, queen-like.”
Murphy has become so embedded in the community that he has even photographed some of his subjects on more than one occasion.
This was true of the girl who took her cat shopping.
But he only discovered the coincidence when he spoke to Eliza’s mother.
Murphy recalled: “She told me I had photographed her daughter four years earlier, when she was going to a party with her sister.”
“They had just got out of a taxi and were wearing beautiful dresses and were clutching huge presents wrapped in LOL doll paper.
“I crossed the street and asked if their parents were around so I could get permission but it turned out their dad was the driver and he agreed.”
Last year Eliza again found herself in front of Murphy’s Mamiya R267 camera.
He said: “She had shopping to do but allowed me the time to capture a few frames and I tried to get the cat to look towards camera too.
“When I went around to the house to drop off a print, Eliza’s mother was so happy. She told me: ‘You don’t know what this will mean to Eliza’.”
She went on to explain that the cat had since gone missing.
Murphy added: “This was the only photograph that she had of her and her cat together and it meant the world to the family.”
Tattoo artist Scott took some persuading to pose. Murphy succeeded because his wife was a customer of Murphy’s wife, Beth, who used to run a nail salon in Govanhill.
Murphy said: “Scott said he wouldn’t normally do it but let me take his picture.
“He looks like an intimidating character but if you look really closely you see what matters to him.
“Above his right eye he has the word ‘family’ tattooed.
“There is a softness there. We don’t spend a lot of time looking at people’s eyes.”
When Murphy first encountered performance artist Seamus he had recently lost his elaborate costumes in a fire.
But the next time they caught up he was dressed as a giant rat.
Murphy, who is a lecturer at Glasgow Kelvin College, said: “He was quirky and playing a character.
“The ideas that Seamus comes up with and brings to life could form a whole project on its own.
“It was tongue-in-cheek as the area has been portrayed as having a rodent problem.
“Govanhill does have issues, and I’m not aiming to hide or amplify them, that’s not my job.
“But if you look properly, you will find treasure in Govanhill and that treasure is its people.”
Murphy’s previous work with The Herald newspaper and as a freelance included assignments in Colombia, South Sudan, the Democratic Republic of Congo and Ethiopia.
More recently he chronicled the harrowing plight of Rohingya refugees in Bangladesh on a trip with aid agency SCIAF.
Reflecting on his personal journey he said: “I loved David Bailey’s pictures of The Beatles and The Rolling Stones and was drawn in by the celebrity culture.
“But when I started travelling my priorities shifted. Photography opened my eyes.
“It gave me a greater empathy and understanding of what is going on in the world and the difficult lives people have.
“I really think it shaped me. I became less interested in celebrities and just photographing real people.”
Murphy’s passion for the traditions of his craft in the age of digital also makes his raw portrait work stand out.
He said: “I use medium format film, which gives the images a lot of clarity and sharpness, even when they are blown up.
“It is the type of film that was used for photographing movie stars in the past and it gives them a timeless quality.
“The street is my studio and I want people to be proud of their pictures.”
Govanhill runs at Street Level Photoworks in Trongate, Glasgow, until 27 January
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Wally Workman Gallery presents Chloe Alexander opening day
Wally Workman Gallery presents a solo exhibition by printmaker Chloe Alexander in conjunction with PrintAustin 2024. Alexander’s work is a form of story-telling inspired by the rich, high contrast illustrations found in illuminated texts, graphic novels and children’s fairy tales. Her imagery provokes a sense of nostalgia and familiarity that is at once personal and universal.
Spotlighting Indigenous artists of the Four Corners for Native American Heritage Month
Heritage months give us good reason to seek out new music to expand our personal playlists and discover a new favorite artist to talk up with fellow music aficionados. It’s also a good time to remind ourselves that an effort should be made outside of heritage months to seek new music we may be missing from artists in underrepresented communities.
This listicle highlights one Indigenous independent band or artist from each of the Four Corners states. In case you need a refresher, the Four Corners states are Colorado, Utah, Arizona and New Mexico. Four Corners is the only place in the U.S. where four states meet. The Four Corners region is 25,000 square miles of Native Land and home to Navajo Nation and the Ute people.
Below you’ll find videos, websites, social media and streaming platforms for each featured artist. Show your support by discovering and following them in the provided links. All artists have new music out and new music on the way so be sure to keep up with their journeys.
There are many new independent Indigenous artists creating, touring, and contributing to music communities all over and the following are a great start to discovering them.
Check Out These Independent Native Artists From The Four Corners States:
Xiuhtezcatl Martinez
A globally celebrated hip hop artist and environmental activist born in Colorado.
Discover Xiuhtezcatl: website instagram tiktok spotify apple music bandcamp
UNCW to hold public reception for Fall 2023 Senior Art Exhibition
The exhibition is a capstone requirement for seniors who are seeking a degree in Studio Art, and the artists’ work includes pastels, acrylic painting, foam sculpture, ceramics, photography, printmaking, illustrations, graphic design, and mixed media.
This uncomfortable portrait of femininity has resonated for four decades
Editor’s Note: In Snap, we look at the power of a single photograph, chronicling stories about how both modern and historical images have been made.
CNN
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In 1977, Jo Ann Callis took a photograph of a woman’s head thrown back, her neck taut and tied with a bow looped together from the thin baby blue straps of her white lace dress. It’s an image that beckons a long look, as the tension heightens in its stillness: the woman’s exposed neck strains at the angle, a light red marking peeking out near the tightly bound choker thread. Just above her shoulder, two wallpaper birds dive together, their beaks nearly touching in either an amorous or aggressive dance.
Though she made the image four and a half decades ago, “Woman with Blue Bow” seems strikingly contemporary — a timeless symbol on the strictures of femininity. It is currently exhibiting in the group show “Del Cielo” at Rosegallery in Santa Monica, California, but has been featured in Callis’ exhibitions over the decades as well as her 2009 book, “Woman Twirling.”
Callis is a pioneer of both staged photography and color film in fine art, with her early work depicting shadowy, intensely psychological portraits of women. Her subjects are often kept anonymous through turned heads and cropped frames. They are images with undercurrents of desire and unease: In one, a man’s hands grab the ankles of a woman in heels standing on a chair; in another, a blonde woman is seen from behind and above in bed, her body divided by a single black line that begins with the part in her hair and continues down her spine.
“All those pictures seem to have a sense of pleasure,” Callis explained in a phone interview. “But it goes back and forth between discomfort and comfort.”
In “Blue Bow,” the model poses with her face away from the camera — “a woman standing for all women,” Callis said. Recently divorced at the time she took the photo, Callis was thinking of the limitations that she had experienced in her life, and the restrictive expectations of her gender. She had returned to graduate school for photography while raising her two young children.
“The world opened up to me,” she recalled, explaining that she’d painted and sculpted at home until then. “When I went back to school, I felt so liberated… So that’s, you know, so that’s what that work was about, just freedom and constraint.”
‘Beautiful, but a little bit off’
Callis made her early color work at the peak of the feminist art movement, as artists including Cindy Sherman, Hannah Wilke and Ana Mendieta were exploring gender, power and politics through images of the female body. Though Callis and her body of work fits neatly within this cohort, it’s not a label that Callis adopted, then or now. “But of course, I guess I am,” she added.
She made “Blue Bow” thinking of her own years as a teenager in the 1950s, when it was standard for women to wear crinolines under dresses — garments “which were terribly uncomfortable,” she noted — and, sometimes, ribbons around the neck for formal occasions. Other constraining fashions came to mind too, from the centuries-long tradition of foot binding in China to more subtle limitations of mobility in garments like pencil skirts, all keeping women’s fashion in line with gendered social expectations.
The red imprint on the model’s neck, alluding to discomfort, was not actually caused by the bow, Callis explained, but was rather an illusion thanks to makeup. It’s just one of the many nuances in her color work that she would not have been able to pull off in black and white. At the time, however, color photography was still seen as gauche in fine art circles, with William Eggleston’s landmark exhibition at the Museum of Modern Art, “Photographs” stirring controversy for its snapshot-like color scenes the year prior.
Like Eggleston and later, the filmmaker David Lynch, among others, Callis saw the potential in tapping into lurid hues that could transform the mood of an image. She was greatly inspired by the images of Paul Outerbridge, who lensed full-color erotic portraits of nude women in the 1930s, decades ahead of his time.
“I thought color would add another emotional element to the work,” she said. “I like sour colors — beautiful, but a little bit off. That’s still the palette I like.”
The cinematic qualities of her work are a nod to filmmakers like Alfred Hitchcock, who also influenced her aesthetic. But she has, in turn, been a source of inspiration for both staged photography as well as filmmaking — notably, Sofia Coppola has cited “Blue Bow” as a photograph she kept returning to in the making of her 2017 film “The Beguiled,” about a Civil War-era school for girls.
“It fits the feeling in ‘The Beguiled’ of frustration and being trapped in ultra-femininity,” Coppola wrote of the photograph in her recent book “Archive.”
The fact that Callis’ image has such staying power is “discouraging, in some ways, that things haven’t changed enough,” Callis said. “In contemporary relationships there is more equality, but not always. Women are often the ones who take care of the home and the cooking, even if they’re working.”
But another theme in her image remains lasting, too, seen in the tension between photographer and subject, and the two birds frozen as they come together, mirrored in their symmetry.
“When you’re in a relationship, it’s a give and take,” she said. “You’re always giving up something in order to get something else.”
