New York, NY – January 2018 / Fondazione Del Monte – Palazzo Paltroni / Bologna Italy
Looking back on 2017, I was fortunate to engage in several photographic presentations that offered specific themes, albeit quite different. In particular, with an invitation to participate in the prestigious 2017-18 Mdina Cathedral Art Biennale in Malta’s The Mediterranean: A Sea of Conflicting Spiritualities, as an exhibiting photographer and the only American to receive this honor, I navigated with both intention, and agenda working in tandem to add Bologna Italy to my itinerary. I boarded planes, trains, buses and such for the 3rd edition of Foto/Industria in association with MAST Fondazione’s BIENNIAL OF PHOTOGRAPHY ON INDUSTRY AND WORK. It was for me, a tasting _a mixture of art and cuisine, as Bologna is Italy’s capital of food. And, I wasn’t disappointed on both counts.
The Biennial (12 October-19 November) highlighted the work of 14 extraordinary image-makers at exhibitions located in galleries throughout a city shrouded by architecture of medieval beginnings. My arrival on 17 November afforded me an opportunity for a quick viewing. Having this very short window, I decided to limit my coverage to the images of Lee Friedlander. The Palazzo Paltroni, was the designated space to host his presentation of At Work.
For introductory purposes, one learns Friedlander is considered one of the foremost photographers of the twentieth and twenty-first centuries. American born (Aberdeen Washington (1934), his images detail America’s social landscape. They have been noted as “keen depictions” that include the worlds of jazz, television, urban landscapes and deserts. At Work, is a monograph dedicated to the urban life of largely the anonymous worker photographed over a 16 year period beginning in 1979. It is a commissioned work offering a cultural fabric woven with images of factories and offices, as well as tools, work practices, and relationships in professional settings. Shot in black and white with the use of a 35mm Leica, the work defined an era. “Friedlander has acknowledged the largely anonymous worker, making inventive pictures of the familiar, humdrum, yet overriding role of work in America.” Throughout the course of this assignment, Friedlander maintained his personal artistic freedom and integrity. True to his aesthetic, it is an outstanding selection of photographs that give homage to a place and time_ a brilliant documentation and archive of Middle America and its working class and social structure.
“Friedlander has acknowledged the largely anonymous worker, making inventive pictures of the familiar, humdrum, yet overriding role of work in America.” _ Fraenkel Gallery
What was of great fascination was the play between the view and the viewer. I buried myself between young students engaged in dialogue with professors, individuals from foreign lands, like me _ just enough to catch a few remarks in English and Italian. At various moments, noting the crowds, I thought of how different this all must seem _a retrospective of working class Americans in past decades, in black and white, before digital, before selfies. It was profound.
As a student, I was fortunate to have the experience to work only in black and white, capturing images with the use of 4×5, 2¼ and 35mm cameras_ bracketing exposures. And not to forget, spending countless hours in darkrooms, adjusting enlargers, and submerging hands in developers and fixers. Now, when I stare at Friedlander’s work, I am reminded of how artfully we were trained. How precise we were with every shot. Kudos for MAST and Foto/Industria for its presentation of At Work which ultimately reminds us of this lost art.
Lee Friedlander is represented by Fraenkel Gallery – San Francisco, CA. USA
Image: #1 Renay Elle Morris / renayellemorris.com
Images: #2, 3, 4 / courtesy of Fraenkel Gallery + Foto/Industria + MAST
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Air transportation is the quickest type of transport service available. It plays an essential role in the present world and contains a deep effect on almost all spheres of human activity including leisure, tourism, supplies and business. As an example, sea transportation is preferred for items such as fuel products from various continents. Multimodal transportation contributes to a monopoly of the transport market. When using public transportation may be terrific method to curb traveling expenses, moreover, it has many disadvantages that you must stay conscious of. At any rate, it’s essential for our everyday life. To start with, though water transportation is regarded as quite costly, however, it’s fairly at a fair price as sea shipping can endure more cargos compared to other sorts of transport.
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Steven Kasher Gallery_Leonard Freed: Six Stories / Renay Elle Morris_ September 2017
Hassidics of Brooklyn, 1954
Black in White America, 1963-65
Israel, 1962 and 1967
As fellow Magnum photographer Cornell Capa expressed in The Concerned Photographer, “… he (Leonard Freed) was a photographer of ordinary people going about their every day lives – at home, at work, and in the streets. He has a keen eye for social hierarchies and, in part because of his working class origins; he felt great solidarity with outsiders, and the oppressed.”
No doubt, it was a bittersweet moment as I walked into the Steven Kasher Gallery, on that balmy evening_14 September. First sight was Leonard Freed’s wife and widow, Brigitte, surrounded by family and friends. Nestled by the door, she greeted guests with her warmth and charm as they arrived for the opening night of Leonard Freed: Six Stories. Holding court, she held in her heart the memory of her partner in life and work_ guardian of his galaxy.
Leonard Freed was a wonder. His artistic and intellectual sensibilities drawn from a background in fine arts, and a desire to reveal and expose the struggles of civics and society was his raison d’être. It found its place with a merging of the two. His passion was revealed in photography, subscribing to ideals of Magnum Photos, and its co-founder, Henri Cartier-Bresson’s credo. “Magnum is a community of thought, a shared human quality, a curiosity about what is going on in the world, a respect for what is going on and a desire to transcribe it visually.”
Freed’s ability to capture “the art of the image” with such fierce reverence earned him respect worldwide as a leader in photojournalism_documenting a world of conflicting and misunderstood social norms_complete with a legacy of images that covers six decades of work. The Six Stories are a masterful display of that documentation. Reflected in the 75 vintage black and white images on exhibit is his innate sense of responsibility to bring a voice to politically and socially challenged individuals, along with a mission to change that dialogue.
”This is the first exhibition that elucidates in depth Freed’s six earliest and most personal stories.” _The Steven Kasher Gallery
This series, on display until 21 October, offers a view into Freed’s world. From his personal challenge to understand his Jewish roots by documentation of a Hassidic community_to the racially charged images in Black in White in America, the viewer gets to “go along for the ride”_ to bear witness to his ability to bring back to life stories of bygone eras_to preserve those decisive moments that will forever be embedded in our historical landscape.
And bittersweet? My first interview with a Magnum photographer was Leonard Freed. We became friends. In 2006, the year of his death, I spoke at his eulogy. Memories never to be forgotten. /R.
Leonard Freed: Six Stories
Steven Kasher Gallery
515 West 26th Street New York, NY 10001
For further info: contact Cassandra@stevenkashergallery.com
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Ensconced in the northern coastal jet-setting playground of Porto Cervo, Sardinia, famous for its jeweled-toned sea, sits another gem portside_not to be overlooked.
While the buoyant glitterati ready yachts and great sailing vessels for adventures in paradise_ toasting to the magnificence surrounding the Bai of Sardinia, and the curious gather for celebrity sightings along the The Costa Smeralda, the Promenade du Port aka The Costa Smeralda Hub_ lies several meters inland from the mighty seafaring crafts. Designed as a “luxury space where people can gather day or night”, it is complete with international art galleries, high-end retailers, bars and fine dining establishments, and an array of events_ all with first class offerings.
Paci Contemporary Gallery is among those glamorous offerings. Sitting pretty, shade side, the Paci Gallery sets its own course. Currently playing host to several photographic legends on both sides of the camera with an exhibition entitled “Moda and Cinema”, I was delighted to have the opportunity to view this collection of some of the most iconic women of the silver screen. The beauty was delivered_san aucun doute, not only detailing trends in fashion and makeup, but the posture, allure and enchantment of decades past, now preserved forever in archives, and brought back to life as the current vogue dictates. While the exhibition is well suited to it’s locale (Prince Aga Kahn’s creation) Paci’s presentation of the provocative and seductive is an engaging selection by the likes of such photographic luminaries as Douglas Kirkland, Bert Stern, William Klein, and Terry O’Neil, among others.
What is evident as you make your way around the gallery is how the photographers are aligned in the use of a “language”. To connect with their subject, the photographer must secure trust. The language is flirtation_ both visual and spoken, and very subtle, as it is the most important element in this photographic process. As an example, and most notably, Bert Stern has captured his star_ Marilyn, allowing the viewer to access the defining moment where intimacy is captured. And the result from Stern is clear in the outcome_ Monroe’s vulnerability. With vulnerability revealed, the intention is a success.
You can still catch the works, as they are on display until 30 September.
For additional information on upcoming exhibitions visit:
firstname.lastname@example.org / pacicontemporary.com
Promenade du Port_Via Aga Khan1 Porto Cervo, Italy
Image, courtesy of Paci Contemporary Gallery_Porto Cervo / 2017