This remarkable body of work, created between 2003-2013 with a Polaroid camera and film, is a fascinating exploration and portrait of Colombia. Perhaps the only project of its scope ever carried out with Polaroid 600 film, the work reveals the distinctive vision of the artist as well as an unexpected Colombia, full of beauty. Rather than the same tired imagery of war, violence, narco trafficking, and misery (called pornomiseria in Colombia), O’Brien, a former Fulbright Fellow in Colombia, offers a different take on the country, focusing on the beauty, the diversity, and the individuality of Colombia and its people. The softness and distinctive color palette of the Polaroids evoke another world. If the link doesn't worl send an email to: firstname.lastname@example.org
This is the new and revised edition of Arnold Odermatt's acclaimed book, first published in 2003. With thoroughness and meticulous attention to detail, Swiss police officer Arnold Odermatt photographed automobile accidents on the streets of the Swiss Canton Nidwalden, documenting accident scenes and property damage during his 40-year career.
Before his son discovered his work and decided to publish it in 2001, Arnold Odermatt was just a police photographer. This is the 2nde edition of the first book which sold quickly in 2003.
"Vermeer Noir" might be an apt description of Dutch photographer Erwin Olaf's disquieting image repertoire. His subjects are posed indoors, immobile, somewhat in reverie and bathed in nearby window light--but not tranquilly so. An atmosphere of sinister but clinical indifference attends both them and their environments, rendering them into beautiful but dislocated mannequins in catalogue-furnished interiors. All sense of belonging to a place is eliminated. Each richly colored and sleekly composed image offers a sly reinterpretation of Norman Rockwell-like iconography and characters, manifesting a nostalgia that both burlesques and celebrates America of the 1950s and 60s. Dramatic emotions are hinted at but left ambiguous; certainly nothing in the models' surroundings suggests a cause. Here, across three themes of Hope, Grief and Rain, Olaf blends mid-century Modern and Noir in the lens of contemporary fashion. Avocado greens, golden-hued oranges and subtle lilacs brighten and deaden simultaneously, sending an irresolvable tension through his scenarios like an electric current. This tension, strung between the polar effects of zing and muteness, is the line Olaf treads in his pictures. As a whole, the work defines what critic Jonathan Turner usefully describes as "Olaf's recent fascination with the visual representation of such emotions as loss, loneliness and quiet despair... [He] plays games with the idea of cold reality versus cruel artifice, capturing that precise moment when innocence, hope and joy are lost." The book comes with a DVD.
Erwin Olaf s art visualizes implicitly the unspoken, the overlooked, that typically resists easy documentation. Olaf s trademark is to address social issues, taboos, and bourgeois conventions in a highly stylized and cunning mode of image making. Alongside new and unpublished work, this book shows an overview of all the personal work that Olaf made during the past 25 years.
Erwin Olaf's approach to storytelling is uniquely evocative and enticingly ambiguous. Critic Francis Hodgson writes of Olaf's images, "They lead us to a "Stimmung" (a sense of atmosphere) which is broad enough to repay many second readings of the pictures and so keep us viewers interested." In this presentation of his most recent work, Olaf expands on his established, highly polished and stylized color studio images to include a series drawn from his sculptural video installation, "Keyholes"; a group of black-and-white images he has exhibited as carbon prints; and photographs created on location in Berlin--a departure from the constructed mises-en-scène of earlier work produced in his Amsterdam studio. "Erwin Olaf: Volume II" showcases the artist at the height of his powers, as an artisan of atmosphere and a craftsman who uses high polish to both perverse and seductive effect.
Erwin Olaf (born 1959) is a Dutch photographer known for his highly stylized, daring and often provocative work addressing social issues and taboos. He is the recipient of numerous awards, including the Johannes Vermeer Award (2011), a Lucie Award (2008) and Photographer of the Year in the International Color Awards (2006). His work is shown in museums and galleries around the world. Olaf also received a commission to design the new national side of the Dutch Euro, launched in 2013.
We All We Got explores the consequences and devastation of youth violence in contemporary America from 2006 to 2013 through a mix of powerful photographs, incisive essays, and moving letters from diverse individuals affected by this perennial scourge. Carlos Javier Ortiz's work provides an avenue for getting to know these children and their families. This work aims to initiate a conversation about youth violence and society's complicity in it. The terror in the eyes of grieving children and inconsolable mothers only allows the viewer to begin to understand the toll that this reality takes on the children who live it. The stories take place in Chicago and Philadelphia. By repeatedly returning to the same neighborhoods over the course of eight years, Ortiz shows the plight of the communities with which he has built a deep connection. You see abandoned buildings, memorials for victims, segregation, graffiti, juvenile incarceration, and other constant reminders of the outcomes of violence on young people and their surroundings. But through all the heartbreak, you also see the incredible resilience of the individuals left behind. And where there is terror, there is also a glimpse of the innocence that remains and a tiny glimmer of hope.
Taken in the "forgotten borough" of Staten Island between 1983 and 1984, the photographs in Christine Osinski's (born 1948) Summer Days Staten Island create a portrait of working-class culture in an often overlooked section of New York City. Captured on Osinski's large format 4x5 camera as she wandered the island, her candid portraits of strangers, vernacular architecture and quotidian scenes reveal an invisible landscape within reach of the thriving metropolis of Manhattan. The neighborhoods that Osinski captured are devoid of the skyscrapers, swarms of pedestrians and choking masses of traffic that are a short ferry ride away. Instead, she captures kids riding bikes on open, empty streets, suburban homes with neatly tended yards and the small-town feel of New York's least populous borough. Accompanying the series of images is an essay by Paul Moakley, Time magazine's Deputy Director of Photography and Visual Enterprise.
This catalogue was produced for the first exhibition of Outerbridge’s work since 1981, which was held March 31 through August 9, 2009, at the J. Paul Getty Museum. It brought together one hundred photographs from all periods and styles of the photographer’s career, including his Cubistic still-life images, commercial magazine photography, and nudes. The book includes an essay by the curator and a chronology of the artist’s life and work.