For over sixty years, Magnum photographers have been responsible for taking some of the world’s most memorable photographs, images that have become instantly recognizable. Robert Capa’s iconic ‘The Falling Soldier’ (1936), Cartier-Bresson’s seminal ‘Place de l ’Europe’ (1932) capturing a man jumping a large puddle, or Dennis Stock’s famous photograph of James Dean walking in the rain in Times Square (1955) are classic examples. These are images from the early years of Magnum, the height of photojournalism in the traditional sense, of black and white reportage and ‘the decisive moment’. With this in mind, it is interesting to consider what the future iconic Magnum images will be. ‘Magnum Contemporary’ at Atlas Gallery will feature striking photographs by the next generation of Magnum photographers, revealing some of the defining images of recent years.
The photographers in this exhibition represent the evolution of documentary photography, from traditional photojournalism to more art-based practice, and reflect the diversity that continues to distinguish the agency. New applicants for Magnum membership in the 1980s brought different approaches, working in colour, making more personal images, and considering themselves artists as much as reportage photographers. The more recent, younger members have expanded the Magnum vocabulary further. Photojournalists are more aware of the ambiguities in reporting on the world, and have moved towards a certain self-reflection.
In this exhibition, Jim Goldberg’s photographs from his ‘Raised by Wolves’ (1985-95) and ‘The New Europeans’ (2003-2007) projects, large multi-layered bodies of work consisting of photographs, Polaroids, written text and ephemera, demonstrate a strictly personal journalism. Antoine D’Agata’s poetic, dream-like images reflect too the intimate and intense nature of his chance encounters. Colour is used as a powerfully descriptive medium, evident in Jonas Bendiksen’s poignant photograph of rocket-scavengers being besieged by white butterfly on the Altai Steppes (2000) and Alex Webb’s ‘Mexicans arrested while trying to cross the border to the United States’ (1979). The rich colours seduce the viewer, often at odds with the brutality of the subject matter. Mark Power’s ‘Dalmatian, Warsaw’ (2005) is a striking image and reflects some of the subtleties that epitomize documentary photography today. Power supports this idea in the following statement:
"Now that everyone in the developed world seems to own some form of camera, a different space has opened for documentary photographers. It's a space free from specific events, where there are different expectations, where it is first and foremost about ideas. Now we can all take pictures, with varying degrees of consistency, more than ever before it's about what we do with photography."
Women of Power consists of 29 color photographs depicting Polish witches, healers, sorceresses, visionaries, spiritual leaders and shamanic techniques practitioners.
According to what Ewelina Jarosz wrote about Women of Power : "The title points to Katarzyna Majak's intenti...
C’est à une invitation à la sérénité et à un retour sur soi que nous propose Yves Marcellin dans cette exposition inédite, installation photographique consacrée aux cinq remémorations du Bouddha.
Empreint des écrits du vénérable moine bouddhiste Thich Nhat Hanh, et plus particulièrement sensi...
With "The Family of Dog", Michael Ruetz has created, over the last 50 years, a unique body of photographic work. Superficially, these images might appear to pay tribute to the established forms of animal photography. But a second, more focused view shows that the reverse is true. Ruetz' pictures are as far removed from those of the animal specialist...
Failed States is an exploration of coincidence and poetics amid the barriers and bureaucracy of governmental power.
In January 2010, while on a trip to research the history of snipers in Austin, Texas, Magid witnessed a mysterious shooting on the steps of the State Capitol. After attempting to speak with a state empl...
Une Ford Pick-up, une Pan/Shovel 66, une Custom 2004 (Jeffrey), une Triumph 69 (Vince), une El Camino 64, une Bel Air 65 (peinte par Vince), une Duo Glide 62, une Comet (qui appartenait à Steve Mc Queen), une Special Construction 2000 (toutes, OM), une Harley 1969, une Dyna 2003 (Wes),une Pan 59, une Pan 62, une Pan 65 (John Copeland), une Sportster 68 (Dr...
Le conte photographique l’Emouvantail, se veut être « l’Echo » d’une histoire d’amour entre un épouvantail etune jeune femme, la Dame de l’O qui pourrait être celle de chacun d’entre nous… Mais pas seulement…
Créée par le Musée de l’Elysée à Lausanne, l’exposition Hans Steiner Chronique de la vie moderne a été présentée à la Fotostiftung de Winterthour, à la Médiathèque Valais-Martigny et au Museo Villa dei Cedri de Bellinzona.