Lise Sarfati has lived and worked in the United States since 2003. She has realized six important series of photographs there. They have been followed by exhibitions and publications. Each of her works makes clear the identity of an approach focused on the intensity of the rapport established with the person photographed, and of that person with the context. A vision in which the individual is environment, a map outlining a perilous cultural geography. The richness of perception is constructed without effects. The compositions are flawless in the simplicity and unity of the image – the style tends to be elementary and clean, avoiding all qualifications, but the traits of each thing and each person trace a hundred thousand folds. The dimension of the interplay of postures is that of a solemn immaturity: the scenery formed by the people and places is the silent crumpling of a dream in which each risks his or her skin. A feminine seduction tinged with fateful coincidences; the beauty of the adolescents looks like a magic spell. Their solitude and strangeness in the world turn the image into an echo chamber inhabited by the photographer, her subject and the viewer.
The earlier period of a photographic work carried out in Russia (continuously from 1989 to 1999) confirms the tendency of this research. She identifies a very precise and endless psychological spectrum. The projections, the ambitions associated with the immense space, the way in which they compose these figures, play an essential role: the supporting roles are incandescent. A determinism of the heroic, inevitably tragic figure, as if not even we really have another choice.
Oh Man is a series of seventeen large-format photographs, fifteen in color and two in black and white, created in Los Angeles from 2012 to 2013. Like Lise Sarfati’s previous series The New Life (2003), She (2009), and On Hollywood (2010), Oh Man is also set in the urban landscape. In this new work, Sarfati rejects the romantic picturesque. She continues to pursue a body of work which possesses a certain interior complexity and can neither be narrowed down to a singular or global perspective nor be perceived as an object.
Sarfati quotes Baudelaire regarding the series: “in certain almost supernatural states of the soul, the profundity of life reveals itself entirely in the spectacle, however ordinary it may be, before one's eyes. It becomes its Symbol.” She invests the city in a personal and metaphoric way. She rethinks what already exists. A primal vitality, visceral, unrestrainable, arising from rootlessness―men walking and the radical indifference of their bodies―occupies the empty heart of Los Angeles. She creates an image that is always engaged in a discourse with the viewer, an image in which we can project ourselves yet also feel free. The whole series is bathed in a solar light. This luminous point of view acts as an illumination on the image as if to light our vision. Sarfati worked very precisely on the choice of this intense solar light: “I worked on the distance to create an ambiguous link in the relationship between the man and the landscape. My images are large format but through their equilibrium allow the viewer total freedom to engage with the landscape or the human figure.”
The figures in the photographs, characters like those she defined in her series The New Life, She and On Hollywood, are ghostly here. Oh Man creates an uncanny feeling: the men are both anonymous and somehow familiar. They are filmed by surveillance cameras and become a detail of the virtual landscape. What J.G. Ballard, one of Lise Sarfati's references, concerning computerized surveillance systems calls: "an Orwellian nightmare come true, but disguised as a public service."
Oh Man gives us the feeling that we could be downtown in any US megalopolis. The American urban landscape in Sarfati's photographs scrolls along, the warehouses like a long list of signs without affect: United States Post Office, NAB Sound, Toys, Clothing, Handbag, Cosmetics.
Throughout her different series, Sarfati never ceases to interrogate herself on the void and the relationship between the man and the outside world. InOh Man we are swayed by the ambiguous sensation of the landscape, between the attraction to the void and the enjoyment of the space crossed by the walking man.
A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, happy ones usually, and consigning the rest to oblivion: happy faces, relaxed moments, places of leisure rather than work. It tends to underline a group’s social links and affective relations, to highlight an identity, a communal spirit, a shared life and destiny. The portrait of the couple or group, with all its attendant conventions, is one of its inescapable figures.
The family album tries to register the evolution of a particular human community, to write its story and scan the passage of time with each succeeding page. None of this figures in She: instead of a chronology, time is stopped, it appears to stammer and bite its own tail. There is no group photo or desire to stage a collective destiny, but only isolated models and individuals who do not seem to communicate amongst themselves, or only barely; no happy moments or picturesque places, only indifferent moments in ordinary places; no strong gesture, none of the conventional poses, and no complicity with the photographer.
The models pose, but reservedly, more often than not without looking into the camera. And even when we do see their faces, we don’t really seem to see them. They are here, but they are always also there, elsewhere. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence.
By Lise Sarfati, Azzedine Alaia, Rick Owens, Carla Sozzani
Publisher : Publisher : Magnum Photos
2009 | 216 pages
This edition of Fashion Magazine is devoted solely to the work of French photographer Lise Sarfati. In her portraiture, Sarfati dramatizes the intensities of fashionably clad adolescence in the insolently sensual creatures she encounters on the roads of America.
Couching their lightly worn street elegance in moody sobriety, Sarfati presses pause on the activities in which her subjects are engaged and extracts their quintessential sensuality, to produce a type of photography that partakes of both fashion and portraiture idioms without quite belonging to either. Redolent in this respect of Alain Resnais' Last Year at Marienbad, in which the camera deliberately and continually "overgrooms" the emotional drama, Sarfati's work is likewise utterly seductive and compelling.
A series of 50 photographs by French photographer Lise Sarfati. The photographs were taken in cities like Austin, Asheville, Portland, Berkeley, Oakland,Los Angeles, New Orleans and some small towns in Georgia. In each of these portraits, Lise Sarfati dramatizes the complexity of adolescent identity; within unfamiliar territory - both emotionally and physically - where the simplest of feelings become exalted and everything is lived with an intensity that adults will never again be able to feel.
Cole is best known for her underwater photography, but her other studio practice during the cold months in Toronto is an ongoing series of wet collodion photographs. This heavily analog process from the 19th Century is a years-long endeavor of revitalization and experimentation, offering modern day viewers an understanding of what it took to develop photographs in the early days of its invention.
Cole has added her own unique take on the process by adding a layer of color in contrast to the usual sepia tones associated with the genre. The resulting wet plate photographs are tactile and dimensional dances between light and shadow, past and present, depicting women in timeless dreamscapes. We asked her a few questions about this specific project
I discovered Michael Joseph's work in 2016, thanks to Ann Jastrab. I was immediately captivated by the power of his beautiful black and white photographs from his series 'Lost and Found.' His haunting portraits of young Travelers have stayed with me ever since.
Debe Arlook is an award-winning American artist working in photography. Through color and diverse photographic processes, Arlook’s conceptual work is a response to her surroundings and the larger environment, as she attempts to understand the inner and outer worlds of human relationships. Degrees in filmmaking and psychology inform these views.
Seth Dickerman is a master manipulator of the wide spectrum of light densities that reflect off the surface of a photographic print and enter into our field of vision. His singular intent in making prints is to bring out the best an image has to offer, which means giving an image the ability to hold our attention, to engage us, and to allow us to discover something about an image that is meaningful and significant.
Photographer and film director, Michel Haddi has photographed many high-profile celebrities while living in the USA including, Clint Eastwood, Martin Scorsese, David Bowie, Uma Thurman, Francis Ford Coppola, Cameron Diaz, Faye Dunaway, Nicholas Cage, Johnny Depp, Heath Ledger, Angelina Jolie, Janet Jackson, Jennifer Lopez, and many others. He also manages a publishing house, MHS publishing, which publishes his own books.
Currently based in London we have asked him a few questions about his life and work
In 2008, Swedish photographer Sebastian Sardi, inspired by an article exposing hidden mining-related incidents, embarked on a photography journey. Without formal training, he explored mines and ventured to India's Jharkhand state to document coal miners in Dhanbad, known as the "coal capital." His project, "Black Diamond," captured the lives of people, including men, women, and children, dedicated to coal extraction in grueling conditions.
Monterey-based photographer Debra Achen was born and raised near Pittsburgh, PA, where she developed a passion for both nature and art. She studied a variety of studio arts, including drawing, painting, and printmaking in addition to her training in traditional film and darkroom photography. Her project 'Folding and Mending' won the September 2022 Solo Exhibition. We asked here a few questions about her life and work.
Steve Hoffman is a documentary photographer who has who spent the last dozen years working with and photographing the people that live the housing projects in Coney Island. He was the winner of the July and August 2022 Solo Exhibition. We asked him a few questions about his life and work.
Aya is passionate about exploring the natural world and protecting ecosystems and wild landsAll about Photo: Tell us about your first introduction to photography. What drew you into this world?
Her project The Systems That Shape Us'won the February 2022 Solo Exhibition. We asked her a few questions about her life and her work.
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