Upcoming Events: Auction to Benefit The Photo Review

The_Photo_Review_Benefit_Auction_2018_Philadelphia

The Photo Review Benefit Auction 2018

 

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FOR IMMEDIATE RELEASE

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AUCTION TO BENEFIT THE PHOTO REVIEW

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Vintage and Contemporary Work by an International Who’s Who of Photography Up for Bid

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LANGHORNE, PA–The Photo Review, a critical journal of photography founded in 1976, will celebrate its 42nd anniversary with a spectacular Annual Benefit Auction on Saturday, October 27, 2018, at 7 p.m. at the University of the Arts, Caplan Studio Theater, 16th floor of Terra Hall, 211 South Broad Street in Philadelphia. The auction will offer the most significant array of photographs from the 19th century to the present that The Photo Review has ever presented.

The event will feature an international slate of photographers as well as a host of Philadelphia artists. Beginning and experienced collectors alike will have the opportunity to bid on work by such historic masters as Berenice Abbott, Ansel Adams, Eugène Atget, Édouard Baldus, George Barnard, Jesse Tarbox Beals, Éduoard Boubat, Mathew Brady, Brassaï, Harry Callahan, Julia Margaret Cameron, Asahel Curtis, Edward S. Curtis, Dr. Harold Edgerton, Godfrey Frankel, John Beasley Greene, Philippe Halsman, Dave Heath, Fritz Henle, Lewis Hine, George Hurrell, Arthur Kales, André Kertész, Willy Kessels, Leonard Misonne, William Mortensen, Carlo Naya, Charles Nègre, Dorothy Norman, Ruth Orkin, Marion Post Wolcott, Arthur Rothstein, A. J. Russell, Ben Shahn, Edward Steichen, Paul Strand, Josef Sudek, Wilhelm von Gloeden, Eva Watson-Schütze, and Cole Weston.

Among the contemporary photo stars whose work will go on the block are Mario Algaze, Mariette Pathy Allen, Renate Aller, Roger Ballen, Tom Baril, Dan Burkholder, Keith Carter, Carl Corey, Mitch Dobrowner, Jay Dusard, Jill Enfield, Larry Fink, Lois Greenfield, Pamela Ellis Hawkes, Robert Hirsch, Ann Ginsburgh Hofkin, Henry Horenstein, Max Kellenberger, Michael Kenna, Kay Kenny, Mark Klett and Byron Wolfe, George Krause, David Lebe, Barbara Leven, Alex MacLean, Duane Michals, Jeffrey Milstein, Bill Owens, Mark Perrott, Ernestine Ruben, Jerry Spagnoli, Harvey Stein, Krista Steinke, Catherine Steinmann, Maggie Taylor, Charles H. Traub, Richard Tuschman, Hiroshi Watanabe, Sandra Chen Weinstein, David Wells, and Joel-Peter Witkin.

Featured local luminaries include James B. Abbott, Susan Abrams, Laurence Bach, Andrea Baldeck, Andrew Bale, John Benigno, Rita Bernstein, Howard Brunner, Diane Burko, John Carlano, Jack Carnell, Paul Cava, Jano Cohen, Robert Cornelius, Gerald Cyrus, Sandra C. Davis, Susan Fenton, Harvey Finkle, David Freese, Judy Gelles, Tom Goodman, Marvin Greenbaum, David W. Haas, Judith Harold-Steinhauser, Andrew Hoff, Catherine Jansen, Joel Katz, Christopher Kennedy, Richard Kent, Jenny Lynn, Dan Marcolina, D W Mellor, Andrea Modica, Dave Moser, Eileen Neff, Wendy Paton, Thomas Porett, Amie Potsic,  Stuart Rome, Laurence Salzmann, Keith Sharp, John Singletary, Leif Skoogfors, Krista Steinke, Ron Tarver, Judith Taylor, Amanda Tinker, Sarah Van Keuren, Al Wachlin, Jr., Eric Weeks, Christine Welch, Stephen Guion Williams, and Richard Wright.

In addition, a broad range of 19th-century and vernacular photographs is up for bid. Also in the auction is a group of pictures from pioneering collector Harvey S. Shipley Miller, sold to benefit the Philadelphia Museum of Art and The Photo Review. The Museum accessioned a significant portion of Mr. Miller’s collection and The Photo Review is now offering others for the mutual benefit of the two organizations. The Museum will use its proceeds from the sale for further acquisitions. Among these photographs are superb prints by the noted pictorialist Eva Watson-Schütze (who studied at the Pennsylvania Academy of the Fine Arts with Thomas Eakins and later became one of the founding members of The Photo Secession), cased images from the 19th century, and 19th-century photographs by French photographers like Bisson Frères, William Odiorne, and Achille Quinet, among many others.

According to Photo Review editor Stephen Perloff, prices will range from $50 to $8,000.

A silent auction, concurrent with the live auction, will feature photography equipment and supplies, inkjet paper, museum memberships, theater tickets, books, etc.

Lodima Archival Materials has provided matting for Photo Review auction items.

The Photo Review will present Anthony Bannon, formerly director of the George Eastman Museum with The 2018 Photo Review Award for Services to the Field of Photography, at a reception from 6 to 7 p.m. on October 27, immediately preceding the auction.

A preview will be held at the University of the Arts on Friday, October 26, from 11 a.m. to 5:00 p.m., and on Saturday, October 27 from 11 a.m. to 6 p.m., just prior to the auction. Proceeds from the auction, a popular event since 1981, fund such activities as an annual juried competition for emerging photographers. Admission is free with purchase of the fully illustrated catalog, available through The Photo Review, 215-891-0214. Buyers may preview the live and silent auction online, and place bids at http://www.photoreview.org/auction.

Posted in Advertising, Announcements, Art, Blog, Cameras, Current Events, Exhibitions, Friends of TWS, History, Photography, Popular Culture

Repost: Larry Fink – Interview

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LARRY FINK: INTERVIEW

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Editor’s Note: Larry Fink: The Boxing Photographs is presently on view at the Philadelphia Museum of Art from August 11, 2018 – January 1, 2019. The interview between Tony Ward and Larry Fink took place in January of 2013.

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TW: Taking pictures for Conde Nast titles such as Vanity Fair and W  is an aspiration for many photographers around the world. What is your advice to those photographers that share similar goals and aspirations?

L.F.

Watch out for what you ask for….. it might ask more from your soul than you would be comfortable with giving up…

TW: Are you specifically referring to contractual agreements with the publishing house? Work for hire agreements and the like? When a photographer shoots for Conde Nast, who owns the rights to the picture?

L.F.

Never have I given my copyright to anyone…….. but some other more desperate types have sold the apple with the tree…

TW: You’ve photographed a large variety of people from all walks of life over the course of your career; where do you draw your inspiration from these days?………

L.F.

..   Inspiration comes  with  breakfast….. and an obsessive  need to merge within  the soul of each who I am attracted to..   the  shape of the pictures  is constructed within the moment of impulse…

TW: What was the most fun assignment you’ve ever worked on?  What was the worst?

L.F.

Over the course of 56 years  there have been many assignments which were  fun  but the  deeper truth is that each and any  job I have ever taken and done has been vital to my life and craft…working under contract  with Vanity Fair was a  very good time…

TW: Which photographers did you look up to when you were in your teens and first learning the craft?  Who do you admire today? 

LF.

Henri Cartier Bresson… Simpson  Kalisher,,, Bruce Davidson..  Lisette Model,  Brassai…

Todays workers could be…Gilles Peress…. Mitch Epstein …,  Debbie Flemming Caffery   

TW: How did your growing up influence the way you frame a shot?  Were your parents artistic and teach you to interpret the world through composition and structure, via the lens of a camera?

LF.

I was reared by leftist parents with a deep if  rigid appreciation of  art and music …….  It was of great inspiration to be  cuddled within culture…

TW: Henri Cartier Bresson was known for the “decisive moment”. In your picture making, the “indecisive moment” seems to be your hallmark.  Which visual standards must be met before you decide to make a print for the world to see?

LF.

Indecisive is not something that I am known for and if the images  are such then they fail… visual standards  are fleeting and fixed…. The answer to the question is a dissertation  of  which I will not write here.

TW: During your recent talk at the University of Pennsylvania you mentioned you were beginning to explore the use of the digital camera?  How will the new medium transform your interpretations of new ideas, concepts or assignments?

LF.      

Creative  visual promiscuity…….  Is not a sin……… it  opens up my  photographic eyes by its ease of experimental  rendering ..

TW: You’ve been teaching at Bard for decades: what do you find most rewarding or challenging with regards to the instructor/student classroom experience?.

LF:

………………………………………….I love kids and fear for the future of culture amongst other things…..      I teach in order to contribute to the richness of life experience… I teach in order to learn ..   each student is a lesson…

TW: You’ve accomplished so much in your storied career, from one man shows at the Museum of Modern art, to the glossy editorial pages of W and Vanity Fair: what is the next big goal or desire for Larry Fink in 2013?

LF.

I have no goals.  In the beginning we wished for revolution .. a new spirit for man… but we have not gone there in fact.  We here in the USA are the bastion of  reaction and art is  dominated by commerce not soul…… the essential goals have been squelched.

However each picture has the possibility of being a miracle  even if it  is not  often received as such…. Of course, I have projects and books in mind  One thing which is interesting as well.. as  I have been  respected I have not had a retrospective show in a major venue in my country the USA…..    I would love to do that before I die. That said  my health is sound so we have time.

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Biography

​Besides working as a professional photographer for over fifty-five years, Larry Fink has had one-man shows at New York’s Museum of Modern Art, and the Whitney Museum of Modern Art amongst others. On the European continent, he has had one-man shows at the Musee de l’Elysee in Lausanne, Switzerland and the Musee de la Photographie in Charleroi, Belgium. Recently, in the last three years, he had a traveling retrospective shown in six different Spanish museums. He was awarded the “Best of Show” for an exhibition curated by Christian Caujolle at the Arles Festival of Photograph in France. As far as being represented in group shows, the list is longer than the eye can see. Most recently, Larry has been awarded the
2015 International Center for Photography (ICP) Infinity Award for Lifetime Fine Art Photography. He has also been awarded two John Simon Guggenheim Fellowships and two National Endowment for the Arts, Individual Photography Fellowships. He has been teaching for over fifty-two years, with professorial positions held at Yale University, Cooper Union, and lastly at Bard College, where he is an honored professor. 
Larry’s first monograph, the seminal Social Graces (Aperture, 1984) left a lasting impression in the photographic community. There have been twelve other monographs with the subject matter crossing the class barrier in unexpected ways. Two of his most recently published books were on several “Best Of” lists of the year: The Beats published by Artiere /powerhouse andLarry Fink on Composition and Improvisation published by Aperture. His most recent book is Opening the Sky, published by Stanley / Barker. As an editorial photographer, The New Yorker and Vanity Fair have been amongst a long list of accounts.
 
Coming early 2017, Fink On Warhol: New York Photographs of the 1960s, featuring rare photographs of Andy Warhol and his friends at the Factory interspersed with street scenes and the political atmosphere of 1960s New York. Additionally, he is currently working on a massive retrospective book to be published by the University of Texas Press. Grafiche dell’Artiere in Bologna will make the exquisite prints for the book..

To access Larry Fink’s web site, click herehttp://www.larryfinkphotography.com/

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All Rights Reserved. Copyright, Larry Fink, 2018.

Posted in Art, Blog, Cameras, Documentary, Film, Friends of TWS, History, interview, Men, Photography, Popular Culture, Portraiture, Travel

News: Pennsylvania Convention Center Launches New Website

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Photo: Tony Ward. Preacher. House of Prayer. Pennsylvania Convention Center. Copyright 2018

 

 

Pennsylvania Convention Center Launches New Website 
featuring its $1.5 million West Wing Art Collection
Paconventionart.com hosts information about 69 artists and their works
 
PHILADELPHIA (Oct. 16) – The Pennsylvania Convention Center announced today the launch of a new website to serve as an online platform for the public and art lovers to discover and learn about 131 pieces of fine art installed throughout public spaces within the facility’s 2011 expansion, which increased the venue’s saleable space by more than 60 percent to 1 million square feet. 

 

The Pennsylvania Convention Center invested $1.5 million in the acquisition and installation of the artworks, produced by 69 Pennsylvania artists, which are now placed throughout the facility’s West Wing Expansion. The Center hosted a formal public unveiling of the art earlier this year, as well as public tours of the art in connection with Wawa’s Welcome America’s summer festival.  The venue’s West Wing art collection features 42 paintings, 31 works on paper, 26 photographs, 10 sculptures, eight cased objects, eight textile installations, five tile mosaics, and one video artwork by Pennsylvania’s most inspiring artists. 
 
The site, www.paconventionart.com, provides a detailed map of the facility that identifies the location of each piece of art, images of the artwork itself, as well as biographical information and additional facts on each artist. The website also features video interviews with 38 artists and allows users to search works by title, artist, and location within the Convention Center.  A two-minute introductory video can be viewed on YouTube.  Previously, the collection was available only for viewing during conferences, meetings, or private events hosted at the Convention Center.
The website also contains a downloadable brochure that people attending events at the Convention Center can print or reference for self-guided tours. Website visitors can sign up for mailings and notices of future art-related activities at the Center.
 
 “This artwork was selected with the goal of utilizing our facility to showcase some of the incredible talent of Pennsylvania’s many gifted artists,” said Gregory J. Fox, Esq., Chairman of the PCCA Board of Directors. “Our facility hosts more than 1 million visitors each year who have the opportunity to enjoy and appreciate this art in person, but we wanted to provide even greater access to the public.  This new website makes these works accessible to art lovers anywhere in the world while also showcasing our facility as the cornerstone of the region’s hospitality industry.”
 
The website was launched to coincide with the year-long 25th anniversary celebration of the opening of the Pennsylvania Convention Center. Half of the artists featured in the collection attended the Center’s free, public Community Festival on June 30 to discuss their works with attendees.  The new art website can be reached through the Center’s website at www.paconvention.com.
 
“I am delighted that the Convention Center is making its art collection available online to a wider audience with significant detail on the artists and their individual backgrounds,” said Astrid Bowlby, whose 100 foot-long, commissioned work, “That Music Always Round Me,” is featured at the Center. “The website also provides convention and meeting attendees with a resource to learn more about specific pieces of art, as well as seek out additional works during their visit.  The site is not just an archive of the collection, it greatly enhances individuals’ experience and their ability to appreciate both the art and the artists who created these works.” 
 
The Convention Center joined with Pennsylvania arts organizations to select and curate the works in the collection.  The Center received significant administrative assistance from the Pennsylvania Council on the Arts (PCA) in Harrisburg under the direction, guidance, and counsel of now-retired Executive Director Philip Horn.  The new website lists the names, titles, and organizations of both the Art Purchasing Committee and the Pennsylvania art professionals who served on the Blind Jury who were all instrumental in the art selection process for the pieces in the Center’s West Wing Art Collection. 
 

“Our incredible collection of outstanding works of museum-quality art, which can be found in public spaces throughout our facility, really differentiates the Pennsylvania Convention Center from other meeting venues,” said John J. McNichol, President & CEO of PCCA. “This new website showcases Pennsylvania’s talented artists and the diverse creative culture of our region.  It also allows the Center to highlight our unique collection for prospective customers as an added benefit that their event attendees can enjoy.” 

  
About Pennsylvania Convention Center
The Pennsylvania Convention Center is celebrating its 25th year in the center of Philadelphia’s cultural offerings and world-class dining and entertainment scene. The Convention Center is managed by SMG, the nation’s leader in public facility management. It is the 14th largest such facility in the nation and features the largest exhibit space and ballroom in the Northeast. It has won numerous awards and recognition, including a designation as the Best Government/Public Building of 2011 by the Engineering News Record of New York. For more information, visit www.paconvention.com.
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Media Contacts:
Deirdre C. Hopkins, Tel. 215-680-1526. Email: dhopkins@paconvention.com
Pete Peterson, Tel.  215-893-4297, Email: ppeterson@bellevuepr.com
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Posted in Announcements, Art, Blog, Current Events, Environment, Exhibitions, Friends of TWS, History, News, Photography, Popular Culture, Travel

Bob Shell: Stone Walls Do Not a Prison Make

 

 

 Bob Shell: Letters From Prison #27

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Letters by Bob Shell, Copyright 2018

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Photography by Julie Chu, Aja Butane, Katherine Jania & Zoe, Copyright 2018

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Stone walls do not a prison make,

Nor iron bars a cage.

We’ve all heard that old saying, but where does it come from? It’s the beginning of the last stanza of the poem “To Althea, from Prison” written in 1642 by Richard Lovelace, while imprisoned in Gatehouse Prison. His crime? He had petitioned to have the 1640 Clergy Act annulled. Today, no one knows for certain who Althea was, or if she was even real, but she lives on in that romantic poem. BTW, the full stanza goes:

Stone walls do not a prison make,

Nor iron bars a cage;

Minds innocent and quiet take

That for an hermitage;

If I have freedom in my love

And in my soul am free,

Angels alone, that soar above,

Enjoy such liberty.

If you want to read the whole poem, it’s on Wikipedia. Someone set the lyrics to music, and Dave Swarbrick does an excellent version on Fairport Convention’s album Nine. I was fortunate enough to be photographing Dave on stage during my music photographer days and lost all interest in photography when he launched into the fiddle intro to Althea (I say fiddle, but I believe Dave was playing a viola that night). I learned years later that Dave was struggling with hearing loss, probably from all those years on stage in front of giant amplifiers. I’m partially deaf today in my right ear, the one that was usually toward the amps when I was on stage right. Fairport was opening for Traffic on that early 70s tour, and, for my money put on a better show.

But back to poor Richard pining for Althea through his bars. Let me tell you something, Richard. Stone walls (or concrete today) do a pretty damned effective prison make!

Modern prisons are modular structures made of interlocking precast concrete slabs. The slabs are lifted into place with cranes during construction. You may find signs that the slabs were lying flat at one time in the form of muddy boot prints going across walls that no one bothered to clean off. These “build a prison kits” go together quickly, almost like building with Lego blocks. Once finished they generally are T-shaped buildings, with each arm of the T being a “pod” with cells on three sides, plus showers, and a flat concrete floor with stainless steel tables with attached seats anchored to the floor. Cells generally are about 8 x 12 feet on the inside with the door on one of the 8 foot walls and a small window on the other. Except that the designers of the prison I’m in right now decided to omit the windows. Inside each cell are two bunks attached to the walls, a very small table attached to a wall with one or two seats, also attached to the wall, and a one-piece stainless steel sink/toilet, also attached to a wall. Nothing movable! I’ve been in four different Virginia prisons in the last ten years, and they’re pretty much the same with minor variations. Storage space for personal belongings in cells is very limited, usually an under-bed locker, either welded to the bottom bunk or sliding on the floor so it can be pushed under the bottom bunk. Speaking of bunks, they’re steel slabs. We are given “mattresses” for comfort, two-inch thick foam pads that are more like yoga mats than real mattresses. I used to have a “medical mattress” prescribed by a DOC doctor, but the DOC eliminated them several years ago. It was about six inches thick and very comfortable. I guess they don’t want us to be comfortable. I’m certainly not. I’m writing this at four in the morning, unable to sleep, an all too common problem here. For towels or whatever there are two “hooks” on one wall. These are straight metal rods about three inches long with a ball on the end that fits into a socket attached to the wall. The ball is a friction fit into the socket, so if you put too much weight on it, it collapses. Why? “We don’t want no hangings.”

I really don’t understand what anyone thinks they’re accomplishing by warehousing people this way. They no longer call these places prisons. Now they’re “Correctional Centers.”. I guess the word “prison” has become non-PC. But I can tell you from personal experience that damn little correction takes place. Oh, they have programs and classes, they will tell you. I’ve “been down” ten years as of last September and have yet to be offered a seat in one of those programs or classes. I’ve certainly not been rehabilitated! Nor did I need to be. I was doing just fine, making a good living from photography and writing, and at the peak of my career. And the state brought my whole life crashing down over events that never even happened except in the imagination of an incompetent quack of a medical examiner. I’ve posted details at www.bobshelltruth.com under News Updates.

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About The Author: Bob Shell is a professional photographer, author and former editor in chief of Shutterbug Magazine. He is currently serving a 35 year sentence for involuntary manslaughter for the death of Marion Franklin, one of his former models. Shell was recently moved from Pocahontas State Correctional Center, Pocahontas, Virginia to River North Correctional Center 329 Dellbrook Lane Independence, VA 24348.  Mr. Shell continues to claim his innocence. He is serving the 11th year of his sentence. To read more letters from prison by Bob Shell, click herehttp://tonyward.com/bob-shell-whats-wrong-with-the-american-justice-system/

 

Posted in Affiliates, Architecture, Art, Blog, Cameras, Current Events, Documentary, Environment, History, Men, News, Politics, Popular Culture, Science, Still Life

PSA: VOTE! November 6, 2018

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Vote! November 6, 2018

Posted in Advertising, Affiliates, Announcements, Blog, Current Events, Documentary, Environment, Erotica, Fashion, Friends of TWS, Glamour, Health Care, History, Models, News, Politics, Popular Culture, Student Life, Women