Manhattan’s Howard Greenberg Gallery will double up on Joel Meyerowitz exhibitions, recreating “My European Trip: Photographs from the Car” (presented at MoMA in 1968) and “The Effect of France,” a new series of still lifes made at the photographer’s home in France. “My European Trip” includes forty images taken in France, Greece, Spain, Germany, Turkey, Bulgaria, Morocco, England, Ireland, Wales, and Scotland from 1966 to 1967. “Using documentation of the MoMA exhibition – right down to the wall text – the exhibition will resemble the original as closely as possible,” reads a press release. Reflecting on the sixties show, Meyerowitz said: “As a 30-year-old photographer having my first show at MoMA after shooting for only 6 years, it was very satisfying to see risky work on the walls of the museum. There wasn’t as much dialogue around photography then, certainly not like there is today … the work feels fresh
Two of Campigotto’s prints, including “Cambodia, 2006,” are on display with Laurence Miller Gallery at AIPAD. The Italian photographer has been capturing landscape, architecture, and industry since the 1980s. With his camera in hand, he has studied Venice, Rome, Naples, London, New York, Chicago, the Route of the Casbahs in Morocco, Angkor in Cambodia, the desert of Atacama in Chile, India, Patagonia, Easter Island, Yemen, Iran, and Lapland. AIPAD runs through April 13 at the Park Avenue Armory in New York City and “more than 80 of the world’s leading photography art galleries will present a wide range of museum-quality work, including contemporary, modern and nineteenth-century photographs, as well as photo-based art, video, and new media,” according to its website. The show is open from 11 a.m. to 7 p.m. Friday and Saturday, and 11 a.m. to 6 p.m. on Sunday. Browse more work by Luca here.
A new selection of Voorhes’s concept-driven still lifes is now available for licensing through Gallery Stock. The Austin, Texas-based commercial photographer previously told Sight Unseen: “I don’t do art for art’s sake. I like stuff being used, I like it being published, I like it having a purpose.” His diverse group of clients includes American Airlines, AT&T, Bloomberg Businessweek, BMW, ESPN Magazine, Esquire, Frito Lay, M&Ms Mars, O Magazine, The One Club, Sweet Leaf Tea, Texas Monthly, the U.S. Department of Energy, Walgreens, Wired, and W Hotels & Residences – and his latest update (from close ups of eyes to stacked sandwiches to heroic guitar shots) speaks to the variety of items that pass in front of his lens. View his collection here.
A selection of Engin’s work can now be licensed through Gallery Stock. The Chicago-based advertising and commercial photographer picked up a camera at 17 years old and since then, the apparatus has given him an excuse to visit countless places he isn’t otherwise supposed to be. “I have not qualified for Ironman Hawaii or Boston Marathon,” Engin – who specializes in sports, action, and fitness images – writes on his website. “I have yet to run a sub-3-hour marathon. I do, however, know what it takes to give 100 [percent to] anything you set your mind to … being an athlete put me in a different perspective than other photographers.” His artistic vision draws on his own experiences competing in three Ironman races, 17 half-Ironmans, six Olympic triathlons, seven marathons, and a 5K. Engin’s clients include Nike, Red Bull, SRAM Corportation, and Runner’s World, among others. See his collection here.
Segal captured fringe actors living in Los Angeles and a variety of weaponry – each reflecting film archetypes: the outlaw, the gang-banger, the femme fatale, the psycho, the cop, and the innocent. There’s an unavoidable relationship between guns and Hollywood, and often times the glamour of possessing a gun and how it empowers us is not discussed. “Gun Owners” is part of Gallery Stock’s new Stories, editorials or personal projects that are curated and bundled, and made available for syndication to worldwide publications. View the story here. View Gregg’s collection of images on Gallery Stock here.
Girard and Ian Lambot’s ‘City of Darkness Revisited,’ the sequel to ‘City of Darkness: Life in Kowloon Walled City’ (Watermark, 1999), is inching toward its Kickstarter funding goal of £50,000, with £43,536 pledged by 633 backers and sixteen days to go. Both books chronicle life in Hong Kong’s Kowloon Walled City, which, before its demolition in 1993, was believed to be the most densely populated place on earth. “It was a huge monstrosity of buildings,” Girard previously told CNN. “It didn’t look like anything else … quite often houses were built by building onto the next building, punching out walls to use their staircases. A lot of them didn’t have access to air or open space, because they were enclosed in the center of the structure.” Yet, “People were doing very ordinary things. It’s just that all these ordinary things were happening in an extraordinary place.” Girard and Lambot’s
Photo blog Feature Shoot recently showcased Carson’s “We Were There” series, a project that “explores the symbiotic relationship between rock concert fans, the bands, and the photographer at music festivals,” in his own words. “It is also a self-portrait of a music fan, musician, and photographer, who has been on both sides of the stage, barrier, and photo pit.” He made the images over the last seven years while on assignment at music festivals in Austin, Texas, during the first three songs at each concert. Carson told the site that he “almost immediately” turned his attention on crowds, “since concert and festival bands play on massive stages that you can barely see over, and everyone is getting almost the same shots with telephoto lenses. It’s also much less claustrophobic stepping away from 50 other photographers standing shoulder to shoulder. The crowds are more animated and more pumped than the bands
Taksim Gezi Park, an urban park next to Taksim Square in Istanbul, Turkey’s Beyoglu district is one of the last green spaces in Beyoglu and one of the smallest parks of Istanbul. In late May 2013, plans to replace the park with a shopping mall and possible residences sparked nationwide protests. Riots soon developed when a group occupying the park was attacked by police with no mercy. On May 31, officers suppressed the protesters with tear gas, pressurized water, and both rubber and real bullets. They arrested hundreds of people and injured thousands, and the action received extensive attention online. The concerns have since broadened beyond the park to issues such as freedom of assembly and freedom of expression, as well as more broadly defending the secularism of Turkey. The unrest also spread to other Turkish cities, and protests were seen in countries with significant Turkish communities. Gurer was on
The Italian photographer recently launched his online publication L’enfanterrible. The concept “took form after meeting with a very talented graphic designer” named Francesco Giarrusso, Zordan explained. “He gave shape to my ideas and my desires to find a medium … to show my images in a more open format, different from that of traditional magazines.” L’enfanterrible is dedicated to children’s fashion, Zordan’s specialty. “I have always [had] a special interest during castings [in] the reactions and body language of the children as they present themselves in front of strangers, trying their best to be picked for the photo shoot … yet showing no interest in the clothing pieces they have to wear – this, all in stark contrast with adults’ attention to fashion and significance given to dressing one way instead of another,” he remarked. “Double Identity,” the spread that covers the first issue, features a set of twins the
Fulton Street is the main thoroughfare through Bed-Stuy, a historically African-American neighborhood in Brooklyn that is probably best known outside of New York as the setting for Spike Lee’s “Do The Right Thing.” It is to Brooklyn what Harlem is to Manhattan. Over the years, it also became home to large numbers of immigrants; originally from Latin America and the West Indies, and more recently from Africa and Haiti. But that’s started to change as the gentrification that has occurred in many areas of Brooklyn has started to happen here. Sorensen’s street portrait project is an attempt to document the people of Fulton Street before the face of Bed-Stuy changes forever. Sorensen’s “Fulton Street” is part of Gallery Stock’s new Stories, editorials or personal projects that are curated and bundled, and made available for syndication to worldwide publications. View the story here.
McCann London tapped Meek to photograph the campaign for Sony’s new 4K TV, which promises four times the detail of full HD. “Sony Bravia has been a benchmark in quality advertising for years now,” Meek wrote in a blog post describing his process. “We flew to a volcano in Costa Rica where it took the inhabitants of an entire village a full week to pluck all the flower petals [seen in the ads] … enough to fill two huge lorries!” He continued: “With the help of a special effects team, the petals were blown and exploded through our landscapes.” The advertisements set his colorful images next to a Sony 4K screen displaying a detail shot meant to illustrate the phenomenal viewing experience, but also showcasing Meek’s expert eye. Make sure to check out the behind the scenes video here and view more of Nick’s work on Gallery Stock here.
TIME asked Stephen Wilkes to photograph 1 World Trade Center for its recent issue, an interactive feature on TIME.com, and the cover of a forthcoming book. Jonathan Woods, senior editor of photo and interactive, spearheaded the WTC package – which ran in the magazine as an eight-page well story by reporter Josh Sanburn who explored the thirteen years it took to rebuild on Ground Zero. “When I went to [TIME director of photography] Kira [Pollack] about the opening picture, Stephen was the first name we discussed,” Woods recalled. “In fact, he opened and closed the piece; he can be up [in a helicopter] for fifteen minutes and get enough material to open and close a piece, and make each image distinct enough; that’s a gift.” Wilkes remarked, “I was very pleased to be able to get two dramatically different shots within that short window … we were lucky to have