Dolce Vita Africana is a documentary about the internationally renowned Malian photographer Malick Sidibé, whose iconic images from the late 1950s through the 70s captured the carefree spirit of his generation asserting their freedom after independence and up until an Islamic coup ushered in years of military dictatorship. The filmmaker travels to Sidibé’s studio in Bamako, Mali, to witness the artist at work and meet many of the subjects of his earlier photographs, whose personal stories also tell the history of Mali.
Commissioned by BBC’s Storyville.
A photogram is a picture made on photographic paper without the aid of a camera. To make this one, Man Ray exposed the paper to light at least three times. Each time a different set of objects acted as a stencil: a pair of hands, a pair of heads kissing (his and his lover, Kiki de Montparnasse), and two darkroom trays, which seem almost to kiss each other with their corner spouts. With each exposure, the paper darkened where it was not masked. Continue reading MAN RAY :: Rayograph (The Kiss), 1922
(republished from Time Lightbox, http://time.com/4476737/california-gregory-halpern/)
In Gregory Halpern’s new book, ZZYZX, the viewer is taken on what feels like a visual pilgrimage, exploring southern California both in and around Los Angeles. Shot between 2008 and 2015, Halpern’s images were directly inspired by the city itself, with the route beginning east of Los Angeles, in the desert, then traveling through the city, and eventually ending at the Pacific Ocean. This path can be likened to America’s Westward Expansion, while capturing the essence of Los Angeles’ unique diversity. Continue reading Gregory Halpern, from his new book ZZYZX, a visual pilgrimage in Southern California
In 1959, photographer Bruce Davidson read about the teenage gangs of New York City. Connecting with a social worker to make initial contact with a gang in Brooklyn called The Jokers, Davidson became a daily observer and photographer of this alienated youth culture. The Fifties are often considered passive and pale by our standards of urban reality, but Davidson’s photographs prove otherwise. These photographs of Brooklyn gangs, Davidson’s first photographic project, were undertaken when he was not much older than the boys depicted in the work.
Davidson, a Magnum photographer, has recently published a monograph entitled Brooklyn Gang, containing 70 images from this documentary series and some interviews as well. These images had never been published together as a whole until the recent publication of this book.