Posts Tagged ‘MFA’

LAST CHANCE: Four Exhibitions

January 13, 2012

Alex Webb, Sancti Spiritus, Cuba, 1993, from MFA, Boston, exhibition, "Violet Isle" (with Rebecca Norris Webb) and Aperture's "The Suffering of Light" exhibition

––Alex Webb, “The Suffering of Light,”Aperture, New York, through January 19, 2012

––Alex Webb and Rebecca Norris Webb, “Violet Isle: A Photographic Portrait of Cuba,”MFA, Boston, through Jan. 16, 2012

––Alex Webb, “The Suffering of Light,” @  Stephen Bulger Gallery, Toronto, through Jan. 14, 2012

––Rebecca Norris Webb and other artists, “Winged Shadows: Life Among Birds,” NDMOA, Grand Forks, ND, through Jan. 15, 2012

NEW REVIEWS/ARTICLES

“On Marrying a Photographer,” on Alec Soth’s blog, Little Brown Mushroom, with comments by several photographers and others, including Martin Parr, Alec Soth, Rachel Cartee Soth, Greta Pratt, Zoe Strauss, Alex Webb, and Rebecca Norris Webb.

–“The Suffering of Light” exhibition @ Aperture reviewed in the Village Voice.

–“The Suffering of Light” exhibition reviewed on DLK blog.

––”As Far As an Outsider Can Go,” in the New York Photo Review.

UPCOMING WORKSHOPS WITH ALEX AND REBECCA

“Teaching taught me how little I knew and it forced me to think.  I had to teach to get an education.” –––Harry Callahan, from “Harry Callahan @ 100” at the National Gallery of Art

– PHOTOGRAPHY MASTERCLASS @ THE NATIONAL MUSEUM OF SINGAPORE, Friday evening, March 9, 2012, thru Saturday, March 11, 2012.  An intensive weekend workshop with the Webbs and Radius Books creative director and noted book designer, David Chickey, with an emphasis on the process of intuitive editing and bookmaking, following the process of how long-term projects can develop into books and exhibitions . APPLICATIONS ARE NOW OPEN. TO LEARN MORE ABOUT THIS WORKSHOP, VISIT THE MAGNUM WEBSITE.  Or, for those on Facebook, please visit the PHOTOGRAPHIC MASTERCLASS AT THE NATIONAL MUSEUM OF SINGAGPORE page. The National Museum of Singapore is a venue partner of the Photography Masterclass.

–WEEKEND WORKSHOP @ APERTURE, NY, Friday evening, March 23, thru Sat., March 25, 2012. Do you know where you’re going next with your photography –– or where it’s taking you?   An intensive weekend workshop with Alex and Rebecca. Check the Aperture  blog for workshop details, such as fee, how to make payment, etc.  Before the Aperture site is live to take workshop applications and  fees online — WHICH WILL HAPPEN EARLY FEBRUARY — you can reserve a space by emailing Anne Lewis of Aperture –– alewis@aperture.org   There is a discount for students and Aperture patrons.

––WEEKEND WORKSHOP IN MILANO @ FORMA; Friday evening, May 4, thru Sunday, May 6th, 2012.  An intensive weekend workshop @ Forma with the Webbs during Alex’s upcoming spring exhibition there, “The Suffering of Light.” Included in the workshop will be a gallery talk by Alex as well as a copy of Alex’s recent survey book of 30 years of his color photographs, “La Sofferenza della Luce,” (Contrasto).  The workshop will be taught in English with Italian translation.  For more information here’s the link.

–FINDING YOUR VISION WORKSHOP @ CAPTION GALLERY, BROOKLYN, NY.  Sunday May 20 thru Friday May 25, 2012.* A week-long photographing and editing workshop where each photographers begins to explore his or her own way of photographing and how to edit intuitively.  Will include exercises, light room tutorials, and a presentation by a noted book editor. APPLICATIONS ARE NOW OPEN.  Early acceptance notification will start on February 29, 2012.  Check the workshop page of the webbnorriswebb website for fees, application process and further details.

*If there is enough interest, we will explore offering a second session of the Finding Your Vision Workshop @ Caption Gallery the week before —  Sunday May 13 thru Friday May 18, 2012.

Rebecca Norris Webb, Havana, 2008, from "Violet Isle" (with Alex Webb) at the MFA, Boston, and "Winged Shadows," at NDMOA, Grand Forks, N.D.

THE SUFFERING OF LIGHT: New Yorker, NYT Lens Blog

December 12, 2011

Alex Webb, "Thessaloniki, Greece, 2003," from "The Suffering of Light" in the "New Yorker," December 19, 2011

Congratulations to Alex and Aperture for the coverage of the current THE SUFFERING OF LIGHT exhibition in this week’s NEW YORKER, WALL STREET JOURNAL, as well as on THE NEW YORK TIMES LENS BLOG, SLATE, the NO RING CIRCUS blog, and an interview with NATALIA JIMENEZ on the MSNBC BLOG.  In addition, THE SUFFERING OF LIGHT  is also included as one of PDN NOTABLE BOOKS OF 2011, one of AMERICAN PHOTO’s BEST PHOTO BOOKS OF 2011, one of the GUARDIAN’S BEST PHOTOGRAPHY BOOKS OF THE YEAR, 2011, one of PHOTO EYE’s Best Photography Books of 2011, and one of ELISABETH BIONDI’S choices for 2011 BEST PHOTOGRAPHY BOOKS on ELIZABETH AVEDON’S blog.

For those who didn’t get a chance to see the exhibition yet, consider attending Alex’s gallery talk at APERTURE on Saturday, December 17th, from 4-5 pm.–Rebecca Norris Webb

CURRENT EXHIBITIONS:

Alex Webb, “The Suffering of Light,” @ Aperture, New York, through January 19, 2012

Alex Webb and Rebecca Norris Webb, “Violet Isle: A Photographic Portrait of Cuba,” @ MFA, Boston, through Jan. 16, 2012

Alex Webb, “The Suffering of Light,” at the Stephen Bulger Gallery, Toronto, through Jan. 14, 2012

Rebecca Norris Webb and other artists, “Winged Shadows: Life Among Birds,” NDMOA, Grand Forks, ND, through Jan. 15, 2012

UPCOMING WORKSHOPS:

January 22-29, 2012: “The Streets of Havana,” a Nordic Light Workshop, is almost full.

Additional Webb Workshops 2012 include:

Sunday May 20 to Friday May 25, 2012,  Brooklyn, New York, “Finding Your Vision Workshop”

Friday, March 9 thru Sunday, March 11, 2012, Singapore, “Finding Your Vision” weekend workshop

Friday March 23 to Sunday March 25, 2012, possible weekend workshop @ Aperture, NY

For more information, please contact Rebecca:  rebeccanorriswebb@yahoo.com.   Ask to placed on the email blog/workshop update list for the latest workshop information.

Rebecca Norris Webb, "Havana, 2007" at MFA, Boston & NDMOA

WOODSTOCK: Webb Slide Talk Saturday, August 27th

August 21, 2011

Alex Webb, cover of "The Suffering of Light," Aperture, 2011

Please join us on Saturday, August 27th, at the CENTER FOR PHOTOGRAPHY AT WOODSTOCK, for our slide talk and book signing, “Together and Apart,” at 8pm.

You’ll also find a new audio piece about our “Violet Isle” exhibition at the MFA, Boston, at this link.

We’ll have more soon about Alex’s upcoming Aperture show later this fall in New York, as well as September gallery openings in Chicago and Boston.––Alex Webb and Rebecca Norris Webb

WEBB WORKSHOP UPDATE 

There are two spaces left for the BOOK WEEKEND WITH RADIUS BOOKS the third weekend in September in Santa Fe, which will involve both David Chickey, the prize-winning book designer and creative director of Radius Books, and Darius Himes, Radius editor and noted photo book expert. Please contact me at the below email ASAP if you’re interested in attending. Former Webb Workshop participants are invited to apply without submitting a portfolio, but other photographers will be considered as well.  For more information, please visit this link on the Magnum Events page.  This workshop is not only a great way to support your own long-term project, but also Rebecca’s upcoming “My Dakota” book as well.–Alex Webb (email: rnorriswebb@yahoo.com)

POSTINGS: April 2010

April 8, 2010

Henri Cartier-Bresson, Torcello, 1953

TWO VIEWS:  Henri Cartier-Bresson

The Cartier-Bresson show that just opened at MOMA is a very different kind of exhibition than the last one that I saw at the museum.  That prior show concentrated on his early work, his surrealist-influenced street photography of the thirties, largely from Europe.   This new exhibition concentrates on his entire work.  Though the early photographs are represented –– and indeed there are a few extremely early images that I am utterly unfamiliar with –– the show largely focuses on the later, more journalistically oriented work from all over the world.  There are examples of many of the magazines that published his work from this era, and there is a set of astonishing maps, representing an incredible amount of research, that track Cartier-Bresson’s wanderings throughout the world.

Though I remain personally most excited by the early, more lyrical work — it was so pure, so visionary, such a special moment in the history of photography ––  it is fascinating to see the broad spectrum of his oeuvre, including many images that I was unaware of.  And there are certainly some gems to discover:  I was particularly taken with this image from Torcello (above). I may well have seen it before but now, thanks to this new exhibition, it is burned into my memory.––Alex Webb

“In a portrait, you are looking for the silence in somebody.”––HCB

“Your first 10,000 photographs are your worst.”––HCB

Above, I selected TWO QUOTES by the late great Cartier-Bresson, who I had the pleasure of meeting in Paris a few years before he died.  In addition, I’m also including links  to two interviews with him –- one a TV interview with Charlie Rose of PBS and, the other, a radio interview with Susan Stamberg of NPR.

And, lastly, here are TWO LINKS to reviews of the current MOMA show, one by the New York Times art critic, Holland Cotter and the other by Philip Gefter of The Daily Beast, which includes a slideshow of some of Cartier-Bresson’s most iconic images.–– Rebecca Norris Webb

TWO RARE BIRDS: BARB and HELEN

Rebecca Norris Webb, Barcelona, 2010

Last month at the Barcelona Zoo, I was thinking about a good friend of my parents, Barb, a lover of birds, who had died recently in my hometown in South Dakota. I’ll always remember my last visit in February with Barb and her husband Don, the couple surrounded by a menagerie of assorted birds, dogs, cats and ferrets.  Bird-thin from the cancer, Barb was holding one of her prized cockatiels close to her chest, and –– like always –– her chief concerns were about her many rescued creatures, not about herself.

So, in the Barcelona Zoo last month, I couldn’t help but think of Barb as I photographed this caged cockatiel (above), while outside my frame –– above the bars and the glass and the zoo’s many fences –– the largest nesting colony of gray herons in Spain was flying free.––Rebecca Norris Webb

Helen Levitt, New York City, 1988

When I first moved to New York in the late 1980’s, Helen Levitt was one of my favorite photographers, and continues to be so, today.  Known predominantly for her black-and-white photographs of children in New York City, she also worked some in color.  Above is a rare bird for me personally, a photograph I’d never seen until recently.

When I look at this image, I can’t help but feel a little nostalgic for a couple of reasons:  It’s a photograph taken of the once ubiquitous icon of the New York City street –- the phone booth–– this one crammed with mother and children.  And secondly, because it was taken on the now extinct Kodachrome film.––RNW

DARK HORSE: Louis Faurer –– Text and Images

Louis Faurer, Self portrait, New York, 1947

Some photographers seem to fall through the cracks of photographic history.  Such seems to have been the case for a time with Louis Faurer.  When I was a young photographer, no one ever mentioned Faurer’s work.  In the late 70’s, after moving to NY, I began to see some of his images, images that I found intriguing, evocative.  I’ve seen more over the years and have always been excited by the uniqueness of his eye.  But until Rebecca recently returned from Houston Fotofest with a book of his collected photographs –– with a fine introduction by Anne Wilkes Tucker of the MFA, Houston ––I didn’t really have a sense of the scope of his work.

Most of the Faurer work that I had seen over the years reminded me a bit of that of Robert Frank (not necessarily surprising, in that they were apparently close friends):  that sense of immediacy, of being inside a poetic moment, often captured a little off-kilter.   As with Frank’s work, with Faurer’s work there is often a strong sense of freedom to the camera. Situations are seen through glass, through reflections, through car windows.  At times, the seeing seems to look towards the later complexities of Friedlander — though consistently striking a more lyrical note.  And for me, personally, this is the side of Faurer’s work that I am particularly sympathetic to.  However, what surprised me most in looking at this book of his work was its variety.  There seems to be a willingness to experiment, to move in different directions, to try new approaches.  For alongside the more spontaneous off-kilter street pictures are more conventional portraits as well as negative sandwiches.  There are echoes of Lisette Model, Arbus, and even Maholy-Nagy.  Perhaps it was simply a fertile time in American photography, when photographers felt particularly free to explore.––Alex Webb

Louis Faurer, Accident, New York, 1952, Gitterman Gallery

IN HIS OWN WORDS: The Photo Not Taken

The MFA Houston book of Faurer’s work by the insightful and thoughtful Anne Wilkes Tucker, includes a wonderful passage from a letter written by the photographer to the then editor of Camera Magazine, Allan Porter, in December 1974.  Faurer, who was known, among other things, for his sympathetic photographs of people on the fringes of society, reflects on an incident in which he missed a photograph of a destitute man in the New York subway.  Interesting how sometimes the photo not taken gives us a different kind of picture of a particular photographer’s process, body of work, and even, sometimes, as with the passage below, his humanity.—Rebecca Norris Webb

Slowly I walked down the slope leading to the second lower level platform.  Was it because I was not courageous that resulted in a miss?  Because I could not further humiliate him?  Was this cadaver-like man with no direction beyond the need for food, thought, and love?  Again, the thought came to my mind, was I cowardly?  Had I become a counterpart to this man?  Hadn’t I been pacing, darting aimlessly, without direction, like the man?  Later I related the incident to several people.  I said, perhaps I thought I was he, maybe I was afraid of myself, but I wanted to think that he had experienced so much pain and anguish that additional injury to his once felt dignity was not possible and that I could not risk accepting the guilt.  Or maybe from way back I heard Walker Evans once say to me, “You wouldn’t photograph a fat woman, would you?” and he might have added “and hurt them?—Louis Faurer