Rineke Dijkstra Villa Franca, Portugal, May 8, 1994, originally uploaded by LivingHome Wall Decor from Kim Garretson.
Dijkstra concentrates on single portraits, and usually works in series, looking at groups such as adolescents, clubbers, and soldiers. Her subjects are shown standing, facing the camera, against a minimal background. During a visit to Portugal in 1994, she made portraits of four bullfighters immediately after the fight. In the same year, she photographed three women who had given birth, one hour (Julie), one day (Tecla) and one week (Saskia) after the event. The raw immediacy of these images captures something of the contradictions inherent in this common and yet most singular of human experiences. The women appear at once vulnerable and invincible, traumatised and self-composed. Dijkstra draws a parallel between the two groups of photographs. Both bullfighters and mothers are pictured after an exhausting and potentially life-threatening experience, relating to society’s deepest-held ideas of masculinity and femininity. ¶ 8:25 PM 0 Comments
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popartmachine.com/item/pop_art/CMA-CMA_.1989.456/JOEL-MEY...
Joel Meyerowitz began taking black-and-white photographs in the streets of New York during the 1960s, working with his 35mm Leica camera alongside Garry Winogrand and Lee Friedlander. With the emergence of new technologies in the early 1970s, he successfully translated his vision to color images. In 1976 Meyerowitz further expanded his technical vocabulary by using a large-format camera to photograph in and around Cape Cod, Massachusetts. Published as Cape Light: Photographs by Joel Meyerowitz (1978), the series explores the manipulation of light and the full range of color available to the medium. He is also recognized for his photographs of St. Louis, commissioned by the city in 1977 and published four years later as St. Louis and The Arch (1981).
popartmachine.com/item/pop_art/CMA-CMA_.1995.198/SALLY-MA...
Explorations of childhood, adolescence, and puberty characterize the imagery of Sally Mann (born Sally Munger), who first came to public attention for her series on pre-teenage girls, published in 1988 as At Twelve: Portraits ofYoung Women. Since 1984 her images have focused on family scenes centered around her three children, Emmet, Jessie, and Virginia. Working in black and white with a large-format view camera, Mann is both documentarian and storyteller, chronicling her children''s physical and emotional maturity as she photographs their everyday mishaps and playtime adventures. The children often appear nude, without modesty, and the candor of her subjects has sparked controversy over the photographs as part of the public domain and over issues of childhood sexuality and freedom. It has also raised debates about Mann herself, as she moves between roles as artist and mother
