• TW Interview: The Walk Magazine

    Upenn: Photography $ Fashion

    Posted on February 8, 2012

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    The Walk: What is the best piece of advice you would give someone who wants to go into the fashion photography industry?
    TW: Study Art and Photographic History, Politics, Business and current events. It is also very important to be driven by an unrelenting passion/obsession: to become the very best in the field. As the great Alexey Brodovitch used to say: “astonish me”!

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    Bonnie Arbittier

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    The Walk: Which designers have been most inspirational to your work? What about these designers resonates most with you and your personal voice?
    TW: The first designer that was most inspirational early on was Emilio Pucci. He was one of the first artist that I recognized that became a master of his craft and the art of branding – by the application of his signature to has textile designs. I loved his sense of style, his choice of fabric and palette. His scarves for women and ties for men were commonplace in my parent’s wardrobes. In recent times, Calvin Klein has always impressed me for pushing the envelope of eroticism and fashion. Sam Shahid, the man behind CK’s sexy ad campaigns – designed the original lay out for my second book, Tableaux Vivants.

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    Renata Siruckova

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    The Walk: What does the word “fetish” mean to you? How do you encourage a student to incorporate the concept of fetish into their fashion photographs?
    TW:Fetish means a penchant or obsessive interest in a particular thing, often related to sexual desire. Any student that endeavors to incorporate the concept of a particular fetish in a body of work are encouraged to understand the law: as it applies to what is commonly referred to as the censorship of obscene material. Working within the framework of the law, is important for the production of any photograph that may be considered lewd or lascivious in nature.

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    Tara McConachie

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    The Walk: At what point do you believe that nudity in art crosses the line into pornography? Is there such a distinction?
    TW: I don’t believe there is a distinction. Nudity in art is about context and sometimes the subject area of the artists oeuvre has a very compelling erotic component. Pornography is primarily defined by politicians and legislators.

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    Clare Din

    Editor’s Note: The Walk is a student run fashion magazine, published by the University of Pennsylvania. Cover Photograph: Erica Sasche – Copyright 2012

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    Photographs to accompany the interview were produced by TW’s Photography & Fashion students at Penn. The next course offering, Fall of 2012.


  • Events: Not a Typical Photography Conference

    www.Summit.OnwardPhoto.org

    Posted on February 7, 2012


  • February Cover Model: Brittany Reese

    TWS

    Editor’s Note: To see more pictures of Brittany Reese, go to the search bar at the top of the page: enter name and click the green icon.

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    Posted on February 1, 2012 – Copyright 2012


  • Exhibitions: Harvey Finkle Photographs

    Advertisement

    Editor’s Note: To learn more about Harvey Finkle’s photographs, go to the search bar at the top of the page: enter name and click the green icon.

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    Posted on January 31, 2012 – Copyright 2012


  • Elizabeth Southward: I Love Your Mind

    Elizabeth Southward

    Posted on January 27, 2012 by Elizabeth Southward

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    ……….As I was going through my wardrobe in anticipation of the sitting with TW, an overwhelming feeling of anxiety came over me. I was born and raised in a catholic environment with fairly conservative parents. I wondered how my family would react to a compilation of eroticism and fashion. Modeling had only become a recent passion of mine. I have participated in shoots ranging from avant-garde to beauty, but I never agreed to the nudity genre. To this day, I have conformed to my far from liberal background. Ultimately, I was intimidated by Tony’s visions.

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    Elizabeth Southward

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    Don’t get me wrong, I have always admired TW’s work and his eye for beauty—I just could never envision myself in any of his models’ shoes. I knew one of the models he had previously collaborated with, who seemed so in tune with her body and sexuality. He reminded me of a fatherly figure who had an innate passion for art and enormous love for the female body. Both key traits I admire.

    Copyright 2012

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    About The Author: Elizabeth Southward currently studies English at Saint Joseph’s University in Philadelphia, Pennsylvania. She hopes to pursue the field of Public Relations upon her graduation. She sought out modeling at the end of May 2011, and currently spends her free time partaking in shoots. She was signed to Reinhard Agency in Philadelphia in August of 2011. She hopes to continue modeling full-time upon graduation and model internationally.
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    Her interests include volunteering at the Camden County Animal Shelter in Blackwood, NJ. She specifically nurtures felines in preparation for adoption. Other interests include: tutoring elementary age children, fashion, reading the classics, baking, traveling, and attending cultural events in the Philadelphia area.


  • TWS: Occupy Your Mind

    Model: Elizabeth Southward

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    Posted on January 23, 2012 – Copyright 2012


  • Ted Adams: Master of the Street

    Live Targets

    Posted on January 22, 2012 by Ted Adams

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    ARTIST STATEMENT

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    I’m generally interested in what things look like (as opposed to any sort of inherent meaning), although sometimes events converge to create irony, humor or interesting juxtapositions. These usually happen by accident – I think that when you’re actually taking the pictures, you have to react to things in an immediate, visceral way – then something akin to “meaning” creates itself later when you’re looking at the negatives and deciding what to print.

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    Cig Lady

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    Barrier

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    Picture-taking also has a psychological aspect which reminds me of going fishing or sifting through junk at a flea market: It involves an obsessive-compulsive drive to put your line in the water to see what you reel in – a subtle mood, an ambiance, a visual structure that tickles your brain.

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    Double Hugs

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    I’m also interested in photography as a way of cropping the world into rectangles, as a way of selectively taking things out of context – which often results in stripping the original meaning out of the subject matter, or at least in making the image open to interpretation. Kind of the opposite of photojournalism, whose intention is to create “narrative” and “context” rather than to discard them.

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    The Saint

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    Jesus Number

    Photography is, in its very essence, the art of cropping – whether in the camera or in the darkroom.

    About The Author: Ted Adams was born in Louisville, Kentucky USA. The artist resides and works in Philadelphia as an Art, Street and Documentary photographer. He is also Owner/Director of the Southwark Gallery, Philadelphia. To learn more about Ted Adams’s work log on: www.TedAdams.net.
    Copyright 2012


  • Bunker Media: Paris Kain’s Metamorphosis

    www.Bunker-Media.com


    Posted on January 19, 2012 – Bunker Media: Copyright 2012


  • Elizabeth Southward: Gender Ambiguity – Part 2

    Elizabeth Southward

    Posted on January 18, 2012 by Elizabeth Southward

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    ……….Gender discrimination is revealed through the transformation of a male to a female. Orlando is brought up in an aristocratic society and is exposed to famous philosophers and poets like Nicholas Greene. Orlando has the capability to choose a woman and ability to be an ambassador to Constantinople as well. Orlando has the capability to compose poems and express himself through writing. Orlando has the upper hand in society as a male in society, but even if he were of the middle class he would still be in the same position. Orlando’s transformation shocks, yet excites the town, especially with the trumpets blaring. In effect Woolf hypothesizes what would happen in society if she were to come out as well as demonstrates her own hesitations with her true nature. A critic named Toni A. H. McNaron focuses on Woolf’s homosexuality within her article A Lesbian Reading when she claims, “The whole question of identification became central to my evolving connection with Virginia about seventeen years ago” (McNaron 15). McNaron characterizes Woolf’s sexuality as a way of characterization. Woolf demonstrates the transformation of Orlando as her own attempt to express empowerment with women.

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    Elizabeth Southward

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    Orlando realizes once he is a woman that she does not have the advantages she once did. Orlando attempts to reconcile her writing ability and does so successively. She travels with a tribe of gypsies and Orlando recognizes the separation between the socio-economic classes. Men from the tribe observe her intellect and as a reaction plot her murder. In Woolf’s excerpt, she illustrated men’s disapproval of women’s discernment, when she clarifies, “…There was an enormous body of masculine opinion to the effect that nothing could be expected of women intellectually. Even if her father did not read out loud these opinions, any girl could read them for herself; and the reading, even in the nineteenth century, must have lowered her vitality, and told profoundly upon her work” (Woolf 54). Men’s opinion of women’s discernment was extreme disgust and denied women’s capability of intellectual expression. Woolf stresses the major disadvantage of women and subservience in the eighteenth and nineteenth centuries. Orlando is a prime example of Woolf’s contempt with societal standards in the eighteenth century and difficulty with her own sexual desires.

    Copyright 2012

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    About The Author: Elizabeth Southward currently studies English at Saint Joseph’s University in Philadelphia, Pennsylvania. She hopes to pursue the field of Public Relations upon her graduation. She sought out modeling at the end of May 2011, and currently spends her free time partaking in shoots. She was signed to Reinhard Agency in Philadelphia in August of 2011. She hopes to continue modeling full-time upon graduation and model internationally.
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    Her interests include volunteering at the Camden County Animal Shelter in Blackwood, NJ. She specifically nurtures felines in preparation for adoption. Other interests include: tutoring elementary age children, fashion, reading the classics, baking, traveling, and attending cultural events in the Philadelphia area.


  • Readings: Gender Ambituity – Part 1

    Elizabeth Southward

    Posted on January 15th, 2012 by Elizabeth Southward

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    Virginia Woolf is ambiguous with her definition of the genders. In the beginning of the novel, Orlando’s gender is skewed and she sets readers up for confusion. Woolf portrays Orlando to be partially feminine when she states, “But, alas, that these catalogues of youthful beauty cannot end without mentioning forehead and eyes” (Woolf 12). Rarely is a male described as being beautiful – a male is praised for her masculinity or for his chiseled jaw. Woolf though adds a sentiment of feminity to Orlando’s character. He is known for his shapely legs, another feminine attribute. Through Woolf’s female touch she better explains her sexuality and underlying hardships. She uses Orlando as a way of expressing her own difficulty with coming out. Woolf is affected by her own hidden sexuality, but she opts to set the novel in the Elizabethan time period, a time of limited expression for women.

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    Elizabeth Southward

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    ……….During the Elizabethan time period women were unable to express themselves through writing or to hold their own opinions without criticism. Women had to depend on men, whether they had a choice or not. In the excerpt of Woolf’s A Room of One’s Own, she exemplifies women’s lack of independence, “She had no chance of learning grammar and logic, let alone of reading Horace and Virgil. She picked up a book now and then, one of her brother’s perhaps, and read a few pages. But then her parents came in and told her to mend the stockings or mind the stew and not moon about with books and papers” (Woolf 47). Women were at a major disadvantage in comparison to men. Men were able to receive education and women were domesticated to house chores. Parents reinforced the inferiority of women by forcing them into the kitchen. In relation to Orlando, Woolf works backwards to demonstrate gender discrimination

    Copyright 2012

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    About The Author: Elizabeth Southward currently studies English at Saint Joseph’s University in Philadelphia, Pennsylvania. She hopes to pursue the field of Public Relations upon her graduation. She sought out modeling at the end of May 2011, and currently spends her free time partaking in shoots. She was signed to Reinhard Agency in Philadelphia in August of 2011. She hopes to continue modeling full-time upon graduation and model internationally.
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    Her interests include volunteering at the Camden County Animal Shelter in Blackwood, NJ. She specifically nurtures felines in preparation for adoption. Other interests include: tutoring elementary age children, fashion, reading the classics, baking, traveling, and attending cultural events in the Philadelphia area.