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Victoria photographer uses photography to reflect positive outlook

By in Photography

Victoria photographer uses photography to reflect positive outlook


Antelope Canyon

Antelope Canyon


Photo Courtesy of Mary Gail Moody


For Mary Gail Moody, a camera is not simply a camera but a way to see the world. 

“I see the world in a positive light,” Moody said. “My photography reflects that.”



Starry night

Starry night 


Photo Courtesy of Mary Gail Moody




Painted Desert

Painted Desert


Photo Courtesy of Mary Gail Moody


Moody first started with photography in her 20s. As technology evolved with the medium, she transitioned from shooting on film to digital after a parent at her daughter’s high school lent her a DSLR camera. With the limitations of shooting on film removed, Moody discovered a new frontier with digital photography and photo-editing software.

Through digital photography, Moody captures a variety of different scenes and is keen is experiment with photo-editing software by implementing composites in her photography. 



Texas Roadside Beauty

Texas Roadside Beauty


Photo Courtesy of Mary Gail Moody




Whooping cranes in flight

Whooping cranes in flight


Photo Courtesy of Mary Gail Moody


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Moody likens herself to an artist rather than a photographer.



Antelope Canyon

Antelope Canyon


Photo Courtesy of Mary Gail Moody


Creativity is an inherited trait from her family. Her mother was a seamstress while her sister and two of her aunts were artists. 

“I was always surrounded by creative, and I think I just found this as my creative outlet,” Moody said. 



Bridal Portrait

Bridal Portrait of Katy Moody


Photo Courtesy of Mary Gail Moody


Moody participates in local photography clubs such as the Victoria Photography Club and the Dewitt County Shutterbugs. Participating in these clubs have been beneficial as she finds it important to learn from other photographer to improve in her craft. 

“As a photographer, you focus on those things that that are really important to you,” Moody said. “You just develop what you have. And if you don’t like it, you take another shot just like you do in life.”



Mary Gail Moody

Mary Gail Moody poses for a portrait Wednesday outside her home in Mission Valley.


Chase Cofield | ccofield@vicad.com


The Queer Intimacy of Paul Mpagi Sepuya’s Self-Portraits

By in Photography

The Queer Intimacy of Paul Mpagi Sepuya’s Self-Portraits

January 26, 2024

Lead ImageCourtesy the artist and Galerie Peter Kilchmann, Zurich, Paris

“I will be surprised when I get into the gallery,” explains American artist, Paul Mpagi Sepuya, on the eve of Exposure, his first UK institutional exhibition that opens today at Nottingham Contemporary. “I wanted to be hands-off in the formulation of this exhibition, trusting that the work has enough in it, and that Nicole Yip’s (chief curator) research and care would bring things together.”

This collaborative approach to image and exhibition-making has been central to Sepuya’s practice since graduating from New York University’s Tisch School of the Arts in 2004. Now highly sought after, Sepuya’s early series of zines featuring portraits of friends, Shoot, is cited as an important part of the resurgence of queer self-publishing culture in the 2000s. Major institutional recognition came in 2018 when he was selected for New Photography 2018, MoMa’s survey of essential artists working at the forefront of photography, followed by his participation in the Whitney Biennial in 2019.

9Exposure by Paul Mpagi Sepuya

Sepuya’s distinctive approach to image-making employs the fundamental elements of photographic portraiture; the camera, the tripod, the studio, the sitter, to make photographs that “are not only images of desire, but also images about the making of images”. 

Below, AnOther spoke to Paul Mpagi Sepuya about his relationship with the studio, and the influence of UCLA Professor Mary Kelly, specifically her view that “everything outside of and up to the frame has as much meaning as what’s inside of it”.

Adam Murray: Your exhibition at Nottingham Contemporary is the first institutional presentation of your work in the UK. Can you give us some insight into the process of working with chief curator, Nicole Yip?

Paul Mpagi Sepuya: Nicole has brought her own curatorial perspective to this most recent project of mine, Daylight Studio / Dark Room Studio, gathering a survey of works from the past few years along with selected earlier works that illuminate aspects of my work in a new way. When I’m putting together a gallery exhibition I am starting from scratch so to speak, in a way I’m sorting out and clarifying whatever work I’ve been making. Something I really love with institutional projects is trusting the curator to discover something new. I mentioned that I would like Nicole to take the lead, and she came up with this wonderful idea of dual meanings of ‘exposure’ to re-frame this work and contextualise it.  

AM: During a visiting lecture you gave at the University of Arkansas in 2021, you referenced Mary Kelly, a professor in the art department at UCLA where you completed your MFA, specifically her view that ‘everything outside of and up to the frame has as much meaning as what’s inside of it’. How has this informed your exhibition design with this new show?  

PMS: No one’s asked me about that before. There are two ways I could approach that. One is everything outside of and up to the moment the picture is made, the social and creative context outside of but supporting the frame of the work. And the other is of course in exhibition layout, the scale and feeling of approach to the work. How is the audience directed? What supports the work? There are many others who were official mentees of Mary, who could better explain her method. But I really enjoyed incorporating that into my thinking. And yet, I wanted to be hands-off in the formulation of this exhibition, trusting that the work has enough in it, and that Nicole’s research and care would bring things together. I will be surprised when I get into the gallery, and we’ll work to finalise the layout in ways that of course consider everything in Mary’s method. 

AM: What is your emotional connection to the studio? Why is this space the stage for your work? 

PMS: I don’t know if I have an emotional connection to the studio. Perhaps a comfort, a fixation? I don’t want my home on display in pictures. You have to know me to be there. And in some ways, I’m also protective of the studio. But I love photographing it. It’s a space that’s always ever-so-slightly changing and is always there for casual observation or a large intervention or a game to be played.

“In some ways, I’m also protective of the studio. But I love photographing it. It’s a space that’s always ever-so-slightly changing” – Paul Mpagi Sepuya

AM: I am interested in your use of language. You employ objective or technical photography language for your titles, for example, previous exhibitions include Dark Room (2018), Push/Pull (2023) and this show, Exposure. I assume there is much more to it than simple image descriptions, could you explain the role language plays in your work? 

PMS: I wanted to shift to more objective and technical language in titling the work, starting in 2014, as a way to move away from giving away names, and pushing two things to happen simultaneously – first a formal description of the picture that does not evaluate the content, and then a reliance on recognition and familiarity from a select intended audience, or the feeling of not-knowing but wanting-to-know who the subjects might be by strangers. So the pictures could move into a somewhat cold medium-specific conversation, but the intimacy is completed by proximity or knowledge of intimate spaces outside of medium and into the realm of gossip, flirtation, and drives. I’m working on a whole new body of work and thinking for the first time what might be possible leaning into descriptions of the gestures, with pictures that continue to push my own boundaries of explicitness.

AM: When we met last year, I told you that the first time I saw your work in an exhibition was at the 2019 Whitney Biennial, but you were quick to explain that you credit those works to the individuals that you invited to shoot alongside you. Generosity, creative exchange, and togetherness is an inherent part of your practice. How does this manifest in this exhibition? 

PMS: The Whitney Biennial was a presentation that brought together photographs made and authored by friends who photographed alongside me in my studio while I was making work of my own. A few pictures were collaborative in the sense of being co-authored. All were attributed. In this show, it manifests in thanking those friends who are in the work being shown. There’s an interdependent relationship there. These are all my photographs but their kindness and generosity make it possible. 

Exposure by Paul Mpagi Sepuya is on show at Nottingham Contemporary from 27 January – 5 May 2024. 

Luigi Ghirri’s photographic study of a very little Italy

By in Photography

Luigi Ghirri’s photographic study of a very little Italy

The late artist and photographer Luigi Ghirri had a lifelong interest in the relationship between fiction and reality. This was a prevalent theme within his practice, and the subject of many of his works, including a series of photographs titled In Scala, which he began in 1977.

During this time, and well into the 80s, Ghirri made several visits to the famous Italia in Miniatura theme park, situated just outside of the city of Rimini. Here, he became fascinated by the park’s extensive collection of scale models representing Italy’s iconic natural and architectural landmarks. In particular, he was drawn to the way in which they enter into dialogue with reality.

Photograph by Luigi Ghirri showing a replica model of an Italian city
All images by Luigi Ghirri, from Italia in Miniatura, Mack, 2024. Courtesy the artist and Mack

The photographs from this series – including some never-before-seen images – have been released as a book, Italia in Miniatura, by London-based publisher Mack, along with materials lifted from the archive of the park’s founder and designer, Ivo Rambaldi.

Though it is not known whether the two ever met, in the book Ghirri’s photography and Rambaldi’s maps, sketches, collages, and reference images come together to form a cohesive visual study of miniaturisation.

Writing in the book’s foreword, Italian curator Ilaria Campioli – who headed this project along with fellow curators Joan Fontcuberta and Matteo Guidi – says: “When Ghirri started working on the In Scale series in 1977, roughly ten years had passed since his first experiments with the medium, during which time his extensive production of images and in-depth theoretical reflection had allowed him to conduct an attentive and thorough analysis of systems of representation, images, and their relationship with reality.

“Ghirri did not merely ponder the status of the image but immediately set himself a specific, well-defined goal that he determinedly pursued, to reveal the gap that exists between reality and a second-degree reality which consists entirely of images and relentlessly superimposes itself on the former.”

In photographing these scale models, Ghirri was building on the established tradition of visually depicting Italy through its most famous landmarks – a tradition that finds its roots in 15th-century geographic drawings – as well as on the widespread tradition of postcard illustration that remains a popular way of capturing the country even today.

As with the postcards, Ghirri’s photographs offer a touristic perspective of Italy, but unlike the postcards, they also attempt to reveal the fictitious nature of such a perspective, which despite the mimesis at play, offers a decidedly alternative reality.

For example, in one of the photographs of the iconic Mont Blanc mountain, the light of sunset serves to reveal the artifice of the scale model, while in others the models are photographed from behind, showing the supporting structures used in their construction. Elsewhere, visitors to the park are featured within the frame, their presence becoming signifiers of scale that break the illusion of reality.

In capturing them, Ghirri not only treats the visitors as tools through which to lift the curtain, but also speaks to their own experience of the park, showing various moments in which they become aware that they are “inside a great sham”.

Interestingly, Campioli notes in the introduction that “it is precisely in front of the model that we can experience truth, reality. The copy recalls the real experience and not that mediated by the ever-increasing number of images. Hence, models, like photography, have the ability to evoke reality, to bring to mind the experience, and thus to illuminate.

“The amusement park becomes a great metaphor for how photography and images work,” she says.

Italia in Miniatura is published by Mack; mackbooks.co.uk

Photos That Capture the Soul of 1960s Dublin

By in Photography

Photos That Capture the Soul of 1960s Dublin
image

Nearly six decades ago, a German-born photographer, Evelyn Hofer, created beautifully crafted shots of the city and its people.

For six months between 1965 and 1966, the German-born photographer Evelyn Hofer worked in Dublin, creating beautifully crafted portraits of the city and its people. Hofer took her time composing each shot, whether it captured a pair of housekeepers in brief repose or James Joyce’s death mask. The results were published in book form in 1967, to accompany an extended essay by V.S. Pritchett. Now, in DUBLIN (Steidl, $58), those images stand on their own to tell a thoughtful story of the city both in black-and-white and in quiet color.

Hofer, who died in Mexico City in 2009, was raised in Switzerland and Spain before settling in New York in 1946, where she contributed photo essays to Harper’s Bazaar and Vogue. In 1959, she began crafting literary portraits of cities, collaborating with Pritchett as well as Mary McCarthy and Jan (then James) Morris. In a letter to Pritchett, Hofer reflected on Dublin as an island “crowded with people who seem to live a life full of fantasies, imagination, talk — yet lonely, suspicious of each other, on the defensive — and yet more able to remain within themselves.” Those depths and contrasts are reflected here.

Reflections in “The Quays.”Estate of Evelyn Hofer
Muddy soccer players in Phoenix Park.Estate of Evelyn Hofer
“Tinker Girl.”Estate of Evelyn Hofer
85 St. Stephen’s Green, University of Dublin.Estate of Evelyn Hofer
A pair on bicycles in “Seminaries.”Estate of Evelyn Hofer
A cat in Mulligan’s, a pub frequented by James Joyce.Estate of Evelyn Hofer
A view from Killiney Bay.Estate of Evelyn Hofer

How the Rybolovlev vs Sotheby’s case shows the need for greater transparency in the art market

By in Art World News

How the Rybolovlev vs Sotheby’s case shows the need for greater transparency in the art market

It may be strange to pity the Russian billionaire Dmitry Rybolovlev, given his testimony in the civil trial between him and Sotheby’s last month. In his lawsuit against the centuries-old auction house, the oligarch lamented the art market’s unique idiosyncrasies: “It’s not only a matter of money. It’s important for the art market to be more transparent, because as I’ve already mentioned, when the largest company in this industry [Sotheby’s] is involved in actions of this sort, clients don’t stand a chance.”

Fighting back tears, Rybolovlev described his work relationship with the Swiss dealer Yves Bouvier: “When you trust people, when a person is like a member of your family, there’s a point in time at which you begin to completely and utterly trust a person.”

I cannot comment on the validity of Rybolovlev’s claims against Sotheby’s or whether the billionaire businessman should have known better, but no one would argue that issues of transparency and trust are unfamiliar to today’s art market.

When opinion is verdict

It has always been common to be taken at your word in the art market’s extravagant dealings. For example, the scholar Bernard Berenson’s opinion on the authenticity of a work was not just an opinion, but a verdict, with enormous consequences for the value of a painting. We know now that Berenson was as much an art historian as an art dealer, with alleged secret dealings with Joseph Duveen that often saw his 5% regular commission for acquisitions boosted another invisible 20% for the buyer. In her 2013 biography of Berenson, Rachel Cohen wrote: “This clear conflict of interest has thrown into doubt many of his authentications for Duveen and a number of these have been shown, through careful examination, to have become more optimistic, therefore considerably more valuable, once he was working for Duveen.”

Providing indisputably reliable information on artworks is a prerequisite for effectively transacting in the art market. But in the case of Berenson, as in the claims brought by Rybolovlev, even the potential of backroom collusion erodes the truly independent nature of scholarship on which buyers are meant to rely.

In my former life as an art dealer, my largest client was the German businessman Hasso Plattner, with whom I shared a deep fondness for French Impressionism. Initially together, and later with a specialist team, Plattner built one of the largest collections of French Impressionist works, now housed in his privately founded Museum Barberini in Potsdam. Unlike Rybolovlev’s description of his dealings with Bouvier, Plattner did not rely on his trust in me. I quickly learned that to be trusted unconditionally was a precarious position to hold. Instead, proving the independence of the scholarship and research I provided to Plattner was the greatest priority in our dealings. For years, I would leave no catalogue raisonné, institutional literature or historical document unturned in order to compile iron-clad justifications for the price of each work.

For individuals without such means, navigating the opaque informational asymmetries between experts, sellers and buyers can be an immense undertaking. It is my strong belief and the mission of my company Artory that, when used correctly, blockchain technology helps to address issues of transparency, accountability and independent scholarship in the art market. The technology—introduced to me through Plattner’s broad tech network—can be used to aggregate and protect the expert-validated artwork information, documentation and transaction data into a fully auditable, certified asset token.

Blockchain tokenisation is an invaluable tool for navigating—and ultimately expanding—the art market. By carrying out the complicated task of securing transaction data and exceptional domain expertise in a single source of truth, these tokens provide individuals and institutions with the credible resources needed to effectively participate in the art market without the need to wholly trust any one individual.

• Nanne Dekking is the founder and chief executive of Artory, and a former chair of The European Fine Art Fair (Tefaf)

Wall Art Market to Record Growth at a CAGR of 5.10% During 2032

By in Art World News

Wall Art Market to Record Growth at a CAGR of 5.10% During 2032

The Wall Art Market flourishes, offering diverse artistic expressions. Increasing demand for personalized decor and unique aesthetics drives market growth.

Report Overview

Polaris Market Research has recently published its latest report titled Wall Art Market 2024: By Types, Applications, Size, Share, Key Players & Regions Forecast Analysis till 2032. The research study gives an in-depth analysis of the market, assessing all the major aspects businesses need to know.

It tracks all the major trends in the industry and their impact on the overall market. Also, it assesses the market dynamics and covers the key demand and price indicators in the industry.

Besides, it covers research data of several market key players, gross margin, and benefits through pictorial representations like tables, charts, and graphs.

The research study includes a thorough examination of the revenue generated by various segments across different regions worldwide. To help stakeholders gain an in-depth understanding of the Wall Art Market, the study taps hard-to-find information on aspects such as supply chain optimization, distribution channels, and technology advancements.

Furthermore, the report includes Porter’s Five Forces to analyze the prominence of several features in the industry.

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Industry Analysis

“According to the research report, the global wall art market was valued at USD 56.76 billion in 2023 and is expected to reach USD 88.66 billion by 2032, to grow at a CAGR of 5.10% during the forecast period.”

Competitive Landscape

This section of the report sheds light on the competitive landscape in the industry. It provides an in-depth examination of the Wall Art Market key players, covering their market share, production capacity, and plant turnarounds.

The study also details all the major strategic developments, such as mergers, acquisitions, and collaborations, in the industry.

Major Key Players:

  • VGL Group
  • Art.com
  • Uprise Art
  • Saatchi Art
  • Society6
  • Minted
  • Artsy
  • 1stdibs.com
  • Artnet Worldwide
  • Artspace.

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The Wall Art Market is a vibrant sector within the broader home decor industry, characterized by a diverse range of artistic expressions that transform walls into personalized and aesthetically pleasing spaces. As consumers increasingly seek unique and visually appealing decor solutions, the market for wall art has witnessed substantial growth.

Let’s explore three key growth drivers and applications shaping the Wall Art Market.

Three Key Growth Drivers:

  1. Rising Demand for Personalized Decor: The growing preference for personalized and customizable home decor fuels the demand for wall art. Consumers seek unique pieces that reflect their individual tastes and create distinctive living spaces.
  2. E-commerce and Online Retail: The proliferation of e-commerce platforms has significantly contributed to the growth of the Wall Art Market. Online channels provide consumers with a wide variety of choices, enabling convenient and diverse shopping experiences.
  3. Artistic Innovation and Trends: Ongoing artistic innovation and emerging decor trends drive market growth. From contemporary and minimalist designs to eclectic and bohemian styles, evolving artistic expressions cater to diverse consumer preferences.

Three Applications of Wall Art:

  1. Residential Interior Decor: Wall art is a staple in residential interior decor, serving as a focal point in living rooms, bedrooms, and other spaces. It adds personality, color, and style to walls, contributing to the overall ambiance of a home.
  2. Commercial and Office Spaces: Businesses utilize wall art to enhance the aesthetic appeal of commercial and office spaces. Corporate offices, hotels, restaurants, and retail stores integrate artistic elements to create visually engaging environments for customers and employees.
  3. Event Decor and Staging: Wall art finds applications in event decor and staging for occasions such as weddings, parties, and exhibitions. Large-scale installations and murals create immersive and memorable experiences for attendees.

Segmental Analysis

The research report for the Wall Art Market has been primarily segmented by type, application, end-use, and region. It offers an in-depth analysis of each of these segments and lists the top segments that are projected to witness the fastest growth.

Besides, a thorough overview of various sub-segments is included in the report.

Regional Overview

This section of the report offers an in-depth analysis of the regional markets in the industry. It evaluates the regional markets by analyzing the pricing of products compared to the revenue generated.

Besides, other important aspects such as production capacity, supply and demand, logistics, and past performance of the Wall Art Market in the given region are also covered.

The major regions and sub-regions covered in the study are:

  • North America (U.S., Canada)
  • Europe (France, Germany, UK, Italy, Netherlands, Spain, Russia)
  • Asia Pacific (Japan, China, India, Malaysia, Indonesia. South Korea)
  • Latin America (Brazil, Mexico, Argentina)
  • Middle East & Africa (Saudi Arabia, UAE, Israel, South Africa)

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Research Methodology

The research report has been prepared by using industry-standard methodologies to provide an accurate and reliable analysis of the market. It involves the collection of data by expert analysts only to have it filtered to offer significant predictions about the market.

Also, it includes interviews with industry experts to keep the research relevant and practical. Along with primary and secondary data approaches, the study considers publicly available sources to provide an insightful market understanding.

Key Highlights of the Report

  • Includes strategically important information to help businesses formulate effective R&D strategies.
  • Tracks all the recent innovations and major events in the Wall Art Market.
  • Uses a number of analytical tools to accurately study and assess the data of key vendors in the industry.
  • Closely examines new partners or clients in the target demographic.
  • It helps you make strategic decisions and business plans.

The Report Answers the Following Questions

  • What is the current size and projected value for the Wall Art Market?
  • What are the major trends in the industry?
  • Where will strategic developments take the industry in the short and long term?
  • At what CAGR is the market anticipated to grow?
  • Which segments are projected to account for the highest Wall Art Market share?
  • What are the major opportunities industry players can capitalize on?

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