Photography

Around the World and Back Again with Bert Hardy

Around the World and Back Again with Bert Hardy

“Everywhere I look, and most of the time I look,” Bert Hardy said, “I see photographs.” His 28-year career attests to it. In 1935, Hardy made a name for himself at just 23, when he photographed King George V and Queen Mary passing in their carriage during the Silver Jubilee celebrations. That snapshot, which sold 200 copies, pulled him out of poverty and marked the beginning of his life as a photojournalist.

In the early 1940s, Hardy was hired by Tom Hopkinson, editor of the influential Picture Post. For Hopkinson he chronicled the mass disruption of W.W. II—in Cardiff, Liverpool, Belfast, and Glasgow. In 1942, the magazine asked him to photograph Chinese seamen on Royal Navy ships in Liverpool, who, despite having lived in the country for decades, were paid less than their British counterparts. Hardy documented the seamen plotting what would become a strike of 10,000 across Chinatown’s rough hostels and boardinghouses.

Artist Sayre Gomez: ‘For me, it’s always a conversation between painting and photography’

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In Sayre Gomez’s photorealist paintings of Los Angeles, the same mountains and expansive skies that fascinated Ed Ruscha and David Hockney preside over the city’s less romantic features: strip-mall nail salons, junkyards, parking lots. For the artist, these sites capture the overlooked beauty of commercial signage throughout the urban landscape.

“It’s almost like a Ginsberg poem,” Gomez says as we tour his studio, affectionately describing the parking-lot lightboxes that appear in many of his paintings. Like the appropriated text of Allen Ginsberg’s Beat poetry, “You’ve got all these businesses in these isolated little boxes, but then their slogans slam together: Crab Shack. Lavandería. They’re in Armenian. They’re in Korean. They’re in English and Spanish.” 

This is the Los Angeles that surrounds Gomez’s studio in Boyle Heights, where he works with a staff of eight. This year at Frieze LA, the artist’s work will appear on Xavier Hufkens’ and François Ghebaly’s booths, while it is also on view in different corners of the globe: the National Gallery of Victoria Triennial in Melbourne, a solo show at Hufkens’ Brussels gallery, group shows at the Broad in LA and the Rubell Museum in Miami. 

Throughout, his subtly beguiling scenes play with perceptions of realism, depth and surface in different ways. Works such as “Diamonds and Pearls” (2022), a diptych on view now at the Broad, place two-dimensional subjects behind translucent barriers; through a nail-salon storefront, cast with reflections from the street, we see the unexpectedly large hands and feet of a poster behind the glass.

Two vertical, hyper-realistic paintings: the left one is a close-up view of a woman’s feet as she massages them with her hands; the right one featuring a red ‘OPEN’ neon sign
‘Diamonds and Pearls’ (2022) by Sayre Gomez, on view at the Broad in LA © Sayre Gomez

“There are things that I’ve driven by 25 times before realising there’s something interesting happening there,” Gomez says of his subject matter. “For whatever reason, perspectives change; some things that are completely uninteresting from one angle can become completely sublime, surreal and fantastic from another.”

His studio comprises two spaces in adjacent buildings, both colourfully furnished and illuminated by skylights. In the more tranquil space, where Playskool toys await Gomez’s young children whenever they visit, each of his works begins as a digital photograph, or more than likely, several. “I take images from everywhere,” he says, including stock photos, Instagram, his own photos and staged shoots, which he may manipulate using Photoshop, Illustrator and more recently the 3D rendering software Maya. The finished image, often a composite of varied graphic elements and visual textures, is then printed as a vinyl stencil. In the production studio next door, assistants in air-filtration masks then airbrush these into paintings, periodically referring to the image on iPad screens.

As staggeringly photorealistic paintings of an inherently flat digital image, Gomez’s large-scale works have a confounding presence when viewed in real life. “For me, it’s always a conversation between painting and photography,” he says, extolling the airbrush’s slick retouching capabilities as the original Photoshop. His paintings frequently include subtle allusions to their digital source material, such as the faint halos that surround low-resolution objects when they’re enlarged. In one in-progress painting, the LA horizon appears behind a slight haze of digital noise. According to Gomez, “Zooming in on this photograph made it pixelated, and airbrush is really good at accentuating that.”

A structure formed of multiple metallic ladders and other discarded machinery components sits under a pink-shaded skyline
‘Heaven ‘N’ Earth’ (2023) by Sayre Gomez © Courtesy the artist/Xavier Hufkens. Photo: Morgan Waltz

Gomez moved from his native Chicago to LA in 2006 to attend the MFA programme at the California Institute of the Arts. “It was this very conceptual environment where there weren’t very many painters,” he says, which ultimately shaped his artistic approach. “Whatever the idea is, you find the best way to articulate it,” which may include the use of fabricators, assistants or software. 

A younger generation of LA artists has embraced versions of this process in their work, using airbrushed collage to express personal narratives about the city. Gomez’s compositions similarly function as indirect biographies, reflecting his longtime aesthetic interest in graphic design. His grandfather was an architectural draftsman who exposed the artist to the world of technical drawings, stencils and analogue clip art. Gomez also recalls his childhood love of comic books and zine-making, and early-career work designing T-shirts for brands such as Stüssy.

Disregarded objects and rubbish are on the floor before a fence under a sign which reads ‘engine overhaul’
‘Heaven ‘N’ Earth Family Room’ (2023) by Sayre Gomez © Courtesy the artist/Xavier Hufkens. Photo: Morgan Waltz

Gomez’s 2012 paintings on view now at the Rubell Museum feature simple compositions of texts and geometric shapes, a conceptual precursor to his current collages. “Why am I going through this huge conceptual apparatus?” he recalls eventually asking himself, having recognised all his graphic interests in the urban landscape. “Everything is already right there, across the street.”

At Gomez’s solo show at Xavier Hufkens in Brussels, his latest works feature the distinctly more dystopian imagery of tattered signs and decaying buildings. Some of the degraded surfaces come from real-life photographs, while others were digitally aged. They recall earlier bodies of work, where he superimposed stickers, digitally scratched out and partially peeled, on to the torn pages of books or the surface of wooden desks. Those textural, trompe-l’œil effects interrupt the slickness of photorealism. “These visual cues of entropy are a demarcation of time, or real life,” the artist says. “It’s not real unless it’s a little fucked up.”

sayregomez.com

‘Erosion’ photography show opens Friday at WallSpace-LNK

‘Erosion’ photography show opens Friday at WallSpace-LNK


“Jack Creek Slot Falls from Above” by Michael Farrell.






“South Fork Middle Loup” by Michael Farrell.






“Nokhu Crags Trailhead” by Michael Farrell.




“Erosion,” an exhibition of large-scale color photographs, will be featured at an opening reception from 5-8 p.m. on First Friday, March 1, at WallSpace-LNK, 1624 S. 17th St.

On the cusp of the spring thaw, these images reveal places etched by the power of water across the Platte Basin and beyond in Nebraska, Colorado and Wyoming. Craggy canyons, Sandhill streams and barren badlands testify that “all that is built up will be worn down.”

Photographer Michael Farrell observes, “I am drawn to those locations that make me think about the short time that we, as mere mortal humans, are allowed to exist here on earth, and the eons of time that have passed since the water began flowing out of the mountains and through the canyons down to the plains, shaping that environment into what we see today. Almost nothing we do as humans will have the same power and effect that flowing water has. The planet is patient and water will outlast humanity.”

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The product of more than 30 years of exploration in the Platte Basin, these images visually capture water’s musical sound as it gurgles over rocks, roars down canyon cascades or silently shimmers in a lake at dawn. Some depict locations documented daily over the last 14 years via the Platte Basin Timelapse Project, which Farrell co-founded with Michael Forsberg.

The big, colorful photographs “reflect the variable paths of our minds and spirits as we make our way minute by minute toward the inevitable …” Farrell notes.

“Erosion” is available for viewing and sales Fridays through Sundays, March 1-31, from noon-5 p.m. and until 8 p.m. on First Friday. For appointment visits, text to 402-429-3684. For more information, see wallspace-lnk.com or Facebook, or visit https://plattebasintimelapse.com/erosion/

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Striking images of women in the Black Panther Party

Striking images of women in the Black Panther Party

Comrade Sister: Women in the Black Panther Party (ACC Art Books, 2022) shows rarely seen images of the women that were the backbone of the party.

”The portrayals were very handsome young men with black leather jackets, berets, and guns; the women were rarely shown”, explains Ericka Huggins, former party member, activist and educator.

Her essays, combined with Stephen Shames’ unique access and stricking photography, offer a radically different picture of the militant black power organisation.

Produced by Anna Bressanin and Tom Heyden

Pictures courtesy of Stephen Shames

“Black Essence Photography Exhibit” to open

“Black Essence Photography Exhibit” to open

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JOHNSTOWN, Pa. – Camillya Taylor did not want to just focus on the past during this year’s Black History Month.

So the owner of Camille’s House of Styles Salon and Boutique brought together six Pennsylvania photographers – Brenda Davis, Darius Levine Davis, Corwin Hall, William Pittman, Lawrence Smith and Lahtifya Taylor – to celebrate current Black culture. Their pictures will be displayed over the next two weeks as part of the “Black Essence Photography Exhibit” at Studio 404, a space owned by Donna Baxter Porcher and David C. Porcher at 404 Messenger St. in Johnstown’s Hornerstown neighborhood.

A grand opening is scheduled to take place beginning at 5 p.m. Saturday.

“A lot of these pictures symbolize just like amazing things that we’re doing in our community, and I thought what better to do than to bring them all together and showcase them,” Camillya Taylor said.

Brenda Davis and Lahtifya Taylor, both from Johnstown, will get the chance to display works in their hometown.

“For me, being a year in (to being a photographer), I may have never been able to show my stuff at this level, so I’m very grateful,” Lahtifya Taylor said.

Davis said it “is awesome to get people interested in gallery-type photography, to see it actually displayed.”

“It really means a lot to have this collaboration, to have photographers come together and display some of their work that we don’t always have the opportunity to do if you’re not going to a website or something like that,” she added.

Pittman and Hall are from Pittsburgh, while Darius Levine Davis and Smith live in Harrisburg.

Smith said being part of the exhibit is “humbling.”

“It means a lot,” Smith said. “It means a great deal. It’s a culmination of a lot of work, and what we’ve captured and how we see ourselves and how we see others.”

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Israel slams top journalism award for citing photographer linked to October 7 attack

Israel slams top journalism award for citing photographer linked to October 7 attack
Following Ynetnews’s report that New York Times photographer Yousef Masoud won the George Polk Award for Photojournalism after accompanying Hamas terrorists and documenting the atrocities they committed on October 7, the Foreign Ministry issued a scathing letter to the award’s committee on Friday demanding it reconsiders its decision.

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“I am writing to express grave concern over your 2024 George Polk Award selections,” wrote Itay Milner, a spokesperson for the Consulate General of Israel in New York.

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פריצת הגדר בגבול עזהפריצת הגדר בגבול עזה

Palestinians breaching Israel’s border fence on October 7

(Photo: Reuters)

“Equally troubling is the specific awarding of Yousef Masoud, whose public connections to Hamas and well-documented foreknowledge of the terror group’s plans for invasion mortally compromise the integrity of his reporting,” the letter added.

“By honoring Masoud, the George Polk Awards endorse a journalist whose work is deeply tainted, sending a dangerous message that journalistic recognition can be altogether divorced from any semblance of ethics. Masoud was intimately tied to a vicious terror group designated as such by the U.S., the EU and much of the civilized world.

“Awarding those complicit with crimes against humanity crushes the George Polk Awards’ reputation as an authority on journalistic integrity, and raises dire moral questions about turning a blind eye to acts of great evil. You must not allow the mores and pressures of our time to cloud your moral compass,” Milner wrote, urging the award committee to reconsider their decision.

According to a statement by Long Island University, which presents the award annually, Masoud, along with fellow Gazan journalist Samar Abu Elouf, was cited for “chronicling Israel’s bombardment and invasion of their homeland, Gaza.”

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חטיפת גופתה של שני לוק ב 7.10חטיפת גופתה של שני לוק ב 7.10

Photos of Hamas terrorists abducting a body taken on October 7 used by AP

(Photo: AP Photo/Ali Mahmud)

“The two photographed the conflict from its opening hours on Oct. 7 until they escaped the territory exactly two months later,” the statement read.

“Under harrowing circumstances, they captured gripping and unforgettable images. Of frightened children looking skyward toward an Israeli plane. Of bodies pulled from the rubble of flattened buildings. Of a little boy touching the bloodied face of his dead baby sister. And of the chaos of hospitals overwhelmed by dazed, gravely injured patients.”

Milner added in the letter, “Many courageous journalists have indeed borne witness to their trials, and deserve recognition. I will highlight one example: Roy Edan was an Israeli photojournalist who was murdered by Hamas on October 7. Up until his very last moments, he did his job to the utmost, capturing singular photos of the terrorists as they invaded his community of Kfar Aza.
“He was slain that day together with his wife Smadar. Their three-year-old daughter Abigail was kidnapped by Hamas and celebrated her fourth birthday in captivity. She was finally freed after 50 days in the terror group’s dungeons. Edan’s work and life were a testament to realities as they were, no matter how uncomfortable.”

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צלם ynet רועי עידןצלם ynet רועי עידן

Ynet photographer Roy Edan

(Photo: Shai Machluf)

During Hamas’ infiltration into Israel on October 7, Masoud was embedded with Hamas as they breached the border fence and captured hostages. His actions were highlighted in a report by the pro-Israel media watchdog HonestReporting last November, sparking a worldwide debate over the ethics of press photographers from global media outlets embedding with Hamas terrorists during the attack.

When Masoud was asked about the coincidental timing and his knack for being “in the right place at the right time,” Masoud explained that he woke up at 5:30 a.m. to the sound of rocket fire, even though the firing did not start until an hour later.

The HonestReporting report raised several poignant questions about the documentation of war crimes committed by Hamas terrorists in southern Israeli communities on October 7 by foreign press photographers working for news agencies Associated Press, Reuters, CNN and The New York Times.

The report suggested that these photographers might have had prior knowledge of Hamas’ plans, enabling them to prepare accordingly – claims later denied by the media outlets.

The Prime Minister’s Office responded furiously, emphasizing the severity of the phenomenon where press photographers associated with international media participate in covering Hamas’ atrocities, demanding clarifications.

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יפה אדריפה אדר

Hamas terrorists abducting Yaffa Adar on October 7

(Photo: AP Photo/Hatem Ali)

Minister Benny Gantz said, “They are no different from the terrorists – and should be treated as such.”

CNN told Ynet in response to the report that it “decided to suspend all ties” with Hassan Eslaiah, a freelance journalist who was documented embracing with Hamas leader in Gaza Yahya Sinwar.

Reuters, which purchased photos from the photographer, said that the photos they acquired from freelance photographers were taken about two hours after Hamas launched the attack and started firing rockets into Israel.

“Reuters categorically denies that it had prior knowledge of the attack or that we embedded journalists with Hamas on Oct 7. Reuters acquired photographs from two Gaza-based freelance photographers who were at the border on the morning of Oct. 7, with whom it did not have a prior relationship,” the news agency said.

Reuters and AP refused to say whether they would sever work ties with the photographers, but have continued to use additional photos taken by them in the following month, including from Rafah.

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בניין Associated Pressבניין Associated Press

Associated Press

(Photo: AP)

The New York Times rejected criticism after its photographer in Gaza was signaled out for filming the Hamas massacre on October 7. The paper said he was covering events as they unfolded as was his job.

“The accusation that anyone at The New York Times had advance knowledge of the Hamas attacks or accompanied Hamas terrorists during the attacks is untrue and outrageous,” the newspaper said.

“It is reckless to make such allegations, putting our journalists on the ground in Israel and Gaza at risk. The Times has extensively covered the Oct. 7 attacks and the war with fairness, impartiality, and an abiding understanding of the complexities of the conflict.”

The newspaper sharply criticized the Foreign Ministry in a public statement, responding to its outreach to the Foreign Press Association. The communication, directed at ministry spokesperson Lior Haiat conveyed the newspaper’s viewpoint that the Israeli government’s statements lacked factual basis.

The response highlighted that the criticism extended beyond The Times to encompass independent photographers covering conflict zones, asserting that the ministry’s stance not only posed a risk to these individuals but also jeopardized the essential journalistic efforts necessary for the global understanding of war realities.

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שלטי החוצות סביב בניין מערכת בניו יורק טיימס שפרסם ארגון CAMERA לגינוי אופן סיקור תלישת כרזות החטופיםשלטי החוצות סביב בניין מערכת בניו יורק טיימס שפרסם ארגון CAMERA לגינוי אופן סיקור תלישת כרזות החטופים

The New York Times

The New York Times newspaper featured a photograph by Mohammed Fayq Abu Mostafa, who accompanied Hamas terrorists during the October 7 terror attack, as one of its photos of the year.

“The photos gathered here pay tribute to the brave photographers who found themselves in danger to capture them, reminding us of the many tears shed in 2023,” the newspaper wrote.

Describing the controversial image of a Palestinian bulldozer breaching the border fence between Gaza and Israel on the day of the massacre, the newspaper wrote, “The Palestinians used earthmoving equipment to breach the border between Gaza and Israel. Armed Hamas terrorists infiltrated Israel through land, sea and air in a surprise terror attack that led to the outbreak of war.”

Abu Mostafa, along with other foreign correspondents, was accused of premeditated collaboration with Hamas on October 7 and stood back while the terrorists murdered and abducted innocent Israeli civilians.