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Heather Angel Capturing Pollination April 26, 2017

Posted by bohdan.warchomij in : Metaphor Online, New York Times , comments closed

Spend just a few minutes in a garden this time of year, and you will likely see a pollinator buzzing or fluttering from flower to flower. While most of us are aware of this vitally important ecosystem service, the act itself — the transfer of pollen from stamen to stigma via tiny feet, wings, antennas or mouthparts — is largely unseen.

In “Pollination Power,” Heather Angel, a photographer based in Surrey, England, exposes the process in macrophotography, which stands out not only for its range and aesthetics, but also for its scientific exactness: She was determined to show not just creatures in flowers, but the instant release of pollen itself.

https://www.nytimes.com/2017/04/24/science/pollination-power-photography.html?&moduleDetail=section-news-4&action=click&contentCollection=Science&region=Footer&module=MoreInSection&version=WhatsNext&contentID=WhatsNext&pgtype=article

Australia Remembers: ANZAC DAY 2015 Photos Bohdan Warchomij April 25, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Australia Remembers: ANZAC DAY 2015

A crowd of more than 40,000 people gathered in the pre-dawn light at the Kings Park war memorial to remember those who lost their lives in conflict.

As dawn spilled in over the city skyline from the east, the lone bugler stepped forward to play the iconic last post. World War II survivor Annie Leach who is 103 carried a  photo  of Bessie Wilmott, her friend and fellow nurse who died at the hands of the Japanese. Like many other veterans she travelled in an Army Willies Jeep as she has done for many many years.

 

War Nurse Annie Leach 102 with a photo of Bessie Wilmott who died in a Japanese Prisoner of War Camp

Kevin Ballantine at Lawrence Wilson Gallery Perth April 19, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Kevin Ballantine: Photographs 1986-2001

Photo Kevin Ballantine

29 April – 8 July 2017

Explore Perth of the mid-1980s through to the dawn of the new millennium with photographs from Western Australian artist Kevin Ballantine.

Kevin Ballantine purchased his first camera in London in 1975, documenting the streets around his home in Fulham. Influenced by the great urban photographers of post-war Paris and New York, and by the work of contemporary street photographers of the 1970s, Ballantine resolved to do the same when he returned to his hometown of Perth in 1976.

The result was an extraordinary body of work, documenting the changing face of the city and conveying with acuity and sensitivity something of what it is to be in this place, both banal and spectacularly beautiful.

Kevin Ballantine: Photographs 1986-2001 presents a survey of 15 years of Ballantine’s practice, capturing the urban landscapes of Perth and Fremantle, an outback road trip down the Great Eastern Highway, and exuberant scenes from Cottesloe beach. It includes an important series from 1986-87 featuring the streets of Fremantle during the America’s Cup.

Image: Kevin Ballantine, Cup City, 1986-87, digital print on archival paper © Kevin Ballantine

photogrvphy.com April 18, 2017

Posted by bohdan.warchomij in : Metaphor Online, Photogrvphy , comments closed

It is always a joy to discover a new online photography magazine, and especially such a wide-ranging and diverse magazine as PHOTOGRVPHY.

With special features, a photography competition, and a small grant it opens the doors to a wide range of photographers, many of whom I am discovering for the first time.

Donald McCullin is not one of the newly discovered but it was nice to rekindle memories of his ‘Retrospective’which I was lucky to catch at the State Library of NSW under the banner of ‘The Impossible Peace’ and to see featured in the magazine.

But it was also great to see Tommaso Rado’s work in the magazine ‘The Danube isn’t Blue’, Max Sher’s ‘Russian Palimsest’, Thomas Kern’s ‘Haiti. The Perpetual Liberation’ and too many more to mention.

The site is almost bottomless in its coverage of established and amateur photographers and genres.

http://photogrvphy.com

Photographing the Passion of a Ukrainian Easter Bohdan Warchomij April 17, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Photo Bohdan Warchomij

St John the Baptist Parish was  started in 1952, three years after Ukrainians first came to Western Australia. For 14 years they were graciously hosted by Archbishop Redmond Prendiville at a chapel near the Mercedes College complex in Perth.

In 1965, with Fr Ivan Szewcziw as pastor, a committee was formed to build a Ukrainian Catholic Church in Maylands. They bought land for 3,600 pounds and in a major community effort built the church in only one year. Bishop Ivan Prasko blessed the church in 1966. It was an outstanding achievement for a community which only landed in Australia in 1949. The effort created a faith and dedication which is still strong today. There has been emigration from Ukraine since independence in 1991 and the new parishioners complement the original pioneers and are huge contributors to the community. My father Mychajlo Warchomij, a carpenter by trade, was an active participant in the building program and his wooden cross, adorned with icons, is still a feature in the church.

On July 17, 2016, about 140 people gathered to thank God for the blessings of the past. Only one original member of the building committee of about 30, Mr. W. Kociuruba, was able to attend-albeit in a wheelchair. He was present at Church again on Sunday for the blessing of the Easter Baskets.

 

Magnum and Lens Culture Want to See your Work April 14, 2017

Posted by bohdan.warchomij in : Lens Culture, Magnum, Metaphor Online , comments closed

Magnum Photos Wants to See Your Work!

LensCulture and legendary photography agency Magnum Photos are seeking the best in global contemporary photography for the second annual Magnum Photography Awards.

Walking on Water Photo Bohdan Warchomij

Photographers working at all levels are eligible to participate—professionals, emerging talents, students and passionate amateurs. Likewise, photographers of all ages and all cultures are encouraged to take part in this worldwide celebration of talented image-makers.

The distinguished international jury will select 12 Winners, 8 Jurors’ Picks and 20 Finalists. Awards will be given in six categories: Documentary, Street, Portrait, Fine Art, Photojournalism and Open.

Magnum and LensCulture have worked hard to make this year’s edition an unparalleled opportunity for exposure and recognition. Our official media partner BBC Culture will be sharing top submissions throughout the competition to their global audience of 3.5 million and then will publish a series of features on selected winners. In addition, all the Winners, Finalists and Jurors’ Picks will be digitally exhibited at the Photographers’ Gallery in London.

The winning photographers will also receive exclusive access to Magnum photographers’ workshops around the world and have their work shown to industry insiders online and at festivals all over the globe. These Awards aim to offer an unprecedented level of international exposure from two of the largest organizations in the photographic community. So, don’t delay, enter now!

Open to all levels in these categories:
Documentary | Portrait | Street | Fine Art | Photojournalism | Open
https://www.lensculture.com/magnum-photography-awards-2017?utm_source=fb-cpc&utm_medium=cpc&utm_term=ENGAGED-FANS&utm_campaign=MA17-FEPOSTS

Australian Photojournalist Daniel Berehulak wins Second Pulitzer April 14, 2017

Posted by bohdan.warchomij in : Metaphor, New York Times , comments closed

Heavy rain pours on the body of Romeo Torres Fontanilla, 37, who was killed by two unidentified gunmen riding motorcycles. Oct. 11, 2016, in Manila, the Philippines. Daniel Berehulak for The New York Times

Australian freelance Photojournalist Daniel Berehulak was awarded the Pulitzer Prize – his second – for breaking news photography for his coverage in the New York Times of the brutal antidrug campaign by President Rodrigo Duterte of the Philippines. E. Jason Wambsgans of the Chicago Tribune received the Pulitzer Prize for feature photography for a story that chronicled the recovery of a 10-year old boy who was the victim of a shooting.

Police investigators gather evidence in the killing of Frederick Mafe, 48, and Arjay Lumbago, 23, as their bodies lay sprawled in the middle of a street. Daniel Berehulak for The New York Times

Over a span of 35 days, Mr. Berehulak photographed 57 homicides at 41 crime scenes where drug users and dealers had been murdered by vigilantes emboldened by President Duterte’s mandate: “kill them all.” He worked closely with Rica Concepcion, a veteran local journalist and fixer, to interview bystanders and the relatives of victims, go to jails and rehabilitation centers and to accompany police officers in different neighborhoods. The resulting interactive piece, “They Are Slaughtering Us Like Animals,” featured both his images and the vivid text accompanying it.

https://lens.blogs.nytimes.com/2017/04/10/photography-pulitzers-recognize-aftermath-of-violence-here-and-abroad/

Inmates watch as drug suspects are processed inside a police station. Daniel Berehulak for The New York Times

Photo Essay Polo in the Valley Bohdan Warchomij Black and White With a Touch of Colour April 7, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Photo Essay Polo in the Valley Bohdan Warchomij Black and White With a Touch of Colour.

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

While the sport of polo is older than recorded history, we know that its origins are in the inspirational relationship between humans and horses. This special bond and the unique blending of athletic talents between horse and rider have helped polo evolve into The Sport of Kings.

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Mounted nomads in Central Asia played a version of polo that was part sport and part training for war, with as many as 100 men on a side. The game followed the nomads’ migration to Persia (modern Iran) some time between 600 B.C. and 100 A.D.

In Persia, polo became a national sport, played by the nobility and military men. The game was formalized and spread west to Constantinople, east to Tibet, China and Japan, and south to India, and further south to the Swan Valley in West Australia where nobility arrived by Bentley and the warriors came from Argentina and Malaysia to battle young Australian men on impeccable turf created by the Prendiville family at Duncraig Stud.

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

Photo Bohdan Warchomij

The Zabludowicz Collection LONDON: You Are Looking at Something That Never Occurred April 6, 2017

Posted by bohdan.warchomij in : DAZED DIGITAL, Metaphor Online , comments closed

Cindy Sherman Untitled Film Still #41, 1979, Gelatin silver print 8 x 10 inches

Anita and Poju Zabludowicz

Anita Zabludowicz was born in Newcastle and now lives in London with her husband, Poju, and their four children. Anita studied Fine Art & History of Art in Newcastle’s College of Arts & Technology and subsequently spent ten years working as a project manager in interior architecture before going back to study Modern Art & Auctioneering at Christies.

Poju Zabludowicz was born in 1953 in Helsinki, Finland where he was schooled. He later graduated with a degree in Economics and Political Science from Tel Aviv University. Poju has led the global equity firm Tamares since 1990.

Poju and Anita support a number of philanthropic activities and together they founded the Zabludowicz Collection in the early 1990s to collect international emerging contemporary art and support their ongoing philanthropic endeavours. They are active internationally and opened an exhibition space in the former Methodist Chapel at 176 Prince of Wales Road in 2007 with the aim to facilitate projects with artists and curators both in the UK and overseas.

Elad Lassry, Woman (Ball A), 2014

Opening six days ago, the Zabludowicz Collection is dedicating an exhibition to artists who have questioned differences between past and present, the factual and the fictional through the eyes of the lens. The aptly titled You Are Looking at Something That Never Occurred uses the Collection’s personal archive, with Wolfgang Tillmans, Jeff Wall and Lucas Blalock, amongst others, coming together to resurrect the 40-year body of work that has successfully challenged us and the world we live in.

The curator, Paul Luckraft, says “This show came out of our desire to look back at the richness in the collection of photography” – a richness which is undeniably apparent in the gallery space. Initially being met with Cindy Sherman’s “Untitled Film Still #41”the exhibition highlights key photographers cleverly connected in their mediums – however, upon closer analysis, it becomes evident each artist has an extremely distinct approach to the lens-based medium.

Thomas Ruff, jpeg ny15, 2007

While some imagery is a testimony to the artist’s skill, there are pieces which, instead, reflect an imperative time in history. Exemplifying this is Thomas Ruff’s addressing of the tragic 9/11 attack in “.jpeg ny15”as it’s cleverly placed by his equally emotive Stoya portrait series. Crisp, clear and clean in its presentation, the portraits (showing sombre-looking male and female subjects) heavily narrate the emotional connotations associated with Tuff’s commemorative work.

Open until 9th July, use this chance to immerse yourself in the extensive variety of photography captured over four decades. With the medium taking over our lives in more ways than we perhaps realise, You Are Looking at Something That Never Occurred does a great job in highlighting relevant aspects of both the past and the present day.

http://www.dazeddigital.com/photography/gallery/23689/18/you-are-looking-at-something-that-never-occurred

http://www.dazeddigital.com/photography/article/35340/1/photographs-that-explore-the-line-between-fact-and-fiction

Christopher Williams, Linhof Technika, Dirk Schaper Studio, Berlin, June 19, 2007, 2008, C-Print 20 x 16 inches

Roger Ballen: An interview from the Kerber Blog April 5, 2017

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Roger Ballen is one of the most important photographers of his generation. He was born in New York in 1950 but for over 40 years he has lived and worked in Johannesburg, South Africa. Ballen has published numerous publications and exhibited internationally. By now Ballen has invented a new hybrid aesthetic in his work but one still rooted firmly in photography.

“Resurrected” is a multi-layered installation that Roger Ballen created in an abandoned family home deep in the Finnish woods. The entire house was then moved and reassembled at the Serlachius Museum in Finland. Michelle van der Veen talked about the accompanying book with the artist.

The project “Resurrected” is very different to your famous photographs made in South Africa. How did you end up in the Finnish woods?

I met the Finnish photographer Ville Lenkkeri some years ago in Latvia and we continued to speak with each other about a photographic project in Ville’s home town Mantta. He mentioned that the Serlachius Museum had shown interest in his proposal. About a year before I arrived in Finland, Ville informed me that the project had been approved.

After a number of discussion, Ville was able to find an abandoned house in the Finnish woods. The initial idea was for me to transform the place into a Ballenesque space. Once I arrived in Finland, both the museum curators and I started to discuss the possibility of moving the completed house to the Serlachius Museum. I was absolutely astonished when the Museum informed me that the project was going to happen.

 

The book presents the entire process of “Ressurected” in essays and photographs including the photographs you created and took within the House. How important is the preservation of the project as a book for you?

Over the past few years, on a regular basis I have created installation in various Museums mirroring the spaces that I have worked in. These installations have been very successful in creating a situation in which the viewer better comprehends the aesthetic nature of my art.

Since I started taking serious photographs nearly fifty years ago the crucial goal of my endeavors has been to publish books on the various series that I have worked on. I believe a book is the most effective means over time by which to preserve the essence of what I worked on.

More than 30 years have passed since you started to shoot the poor rural population of Platteland in South Africa. Your style and artistic approach changed immense over time. From a clean documentary style into a fiction-based one that continues until today. How did this change arose?

My photographic style evolved step by step from being somewhat documentary to creating a unique aesthetic in photography. Beginning in the late 1990’s, I started to view myself as a photographer/artist and around 2003 portraiture in my imagery almost disappeared. At this time, my photographs gradually began to be dominated by drawing, painting and installation in which animals played a larger role than the human subject.

My photographs have always had an existential, psychological basis to them. In this aspect, there has been continuity in my imagery.

Another big change is the absence of humans (sometimes referred to by dolls) and the introduction of animals as the main figures in your work. Especially birds play a big role in your work. Why the change?

Animals all have archetypal meanings and when they interact in a Ballenesque space, metaphors reflecting various aspect of the human and animal conditions are created. The majority of viewers of photographs first attempt to understand the meaning of a photograph by the human face; if this face does not exist it allows the other aspects in my images to take on a greater significance.

 

You also extended the range of media you use. From mere photography to extensive art installations, drawings, sculptures and videos. You even did a music video with the South African band Die Antwoord. The videos have in common that they’re much closer to the viewer than the photographs. They “suck” the viewer deep into the places where you took the photographs, but they don’t have a documentary character. How does the movies and the photographs relate to each other?

I view my photographs and videos as parallel art forms and when taken together extend my aesthetic on multiple levels. The audience for my videos is exponentially greater than my photographs and this media has expanded the audience for my work beyond my wildest expectations. The video, I fink u freeky, that I directed with Die Antwoord has had nearly 80 million hits on Youtube.

But there’re not just all those changes, you always stick to the black and white photography and its aesthetics. What is the advantage of the black and white style?

I am part of the last generation that grew up in a world where black and white photography dominated the media. In numerous ways one cannot separate the essence of my images from the fact that they were taken in black and white. I have been using the same Rolleiflex 6cm x 6cm camera since 1982.

I am attracted to Black and White film as it does not pretend to depict so called reality. It is a very reduced, minimalistic, abstract media which is synonymous with my photographic aesthetic.

 

You create photographs, videos and installations. You did a lot of book projects and you still have time to document and promote your art online. How important is social media and the communication with your fans to you?

I am not obsessed by social media, on the other hand I realize its great potential to reach an audience that would never have come into contact with my art. Furthermore, it also provides a basis for keeping in regular contact with a large audience that is interested in learning more and more about my artistic evolution.

 

What is your next project about?

In the Fall of 2016, Thames and Hudson will be publishing a book of images titled The Theatre of Apparitions. These images are a metaphor for the primeval mind and are radically different than anything I have seen in photography. I will also be releasing a very interesting animated video

 

 

https://kerber-blog.com/interview-with-roger-ballen/