Posts Tagged ‘International Center of Photography’
September 26, 2011 | by Ali Pechman
It’s easy to overlook that Vogue, seemingly eponymous with the word fashion, debuted after Harper’s Bazaar, America’s first fashion magazine. Steeped longer in the Victorianism that defined the nineteenth century, Bazaar set about cataloguing the changes that an era of colonialism and industrialization brought to women’s dress. The original weekly (titled Harper’s Bazar) saw its first printing in November of 1867, as a slim, sixteen-page newsprint volume featuring drawings and articles on every aspect of fashion. The news item “Colors” reads more like an issue of political importance. (“Bismarck, or gold-brown, is the prevailing shade, and reappears in some guise almost every where. The new shades of green are its only formidable rivals. The deep green known as ‘Invisible,’ now called ‘Mermaid,’ is in great favor.”) An early cover from an 1868 issue shows hand-drawn hairstyles alongside paper-doll-like figures, nodding at French sophistication with hairdo trends like the “diadem of curls” and the “fleur de lis coiffure of braids.”
“Harper’s Bazaar: A Decade of Style” at the International Center of Photography catalogues the transformations that technology of a different sort wrought on women’s bodies. The collection of more than thirty images—vivid color photographs from the past decade under editor Glenda Bailey—features work by famed fashion photographers such as Patrick Demarchelier, Terry Richardson, and Peter Lindbergh, as well as art-world luminaries like Nan Goldin and Chuck Close. Read More »
February 4, 2011 | by Wang Qingsong
Here, Chinese painter-turned-photographer Wang Qingsong draws from his memories of the Cultural Revolution, when the walls of China’s cities were covered with handmade posters pasted up by rival Red Guard factions. He filled the walls of a rented Beijing movie sound stage with more than six hundred mock advertising posters that he drew by hand, mimicking corporate logos. If you look closely at the photograph, you can spot him, megaphone in hand.
From the exhibition “When Worlds Collide,” on view at the International Center of Photography, New York, through May 8, 2011. Click to enlarge.
June 8, 2010 | by The Paris Review
“We do not allow anyone to see it, let alone photograph it,” the director of Vienna’s Federal Museum of Pathology at the Narrenturm told Lena Herzog when she first attempted to visit. Herzog was drawn to the collection of what eighteenth-century monks in her native Russia called “lost souls,” and what nineteenth-century doctors described as “incompatible with life”—unborn fetuses and newborn infants who, by virtue of nature’s mutations, were unable to survive but who were preserved by early modern collectors as objects of scientific inquiry and private wonder. These human and animal specimens were often displayed next to maps of the earth and of the stars—evidence of a desire to define boundaries and map the unknown.
Herzog first encountered a similar collection as a student in St. Petersburg in 1988, and her reaction was swift and clear: “What I saw was extraordinary and subversive. It defied belief … The Russian Orthodox church declared the souls of these babies ‘lost’—they had no place in hell, or heaven, or even limbo. They were dead on arrival and had no place to go. Yet what was in the jars shimmered with a strange beauty.” For Herzog, that strange beauty is “something that shocks with a promise of some answer but gives none.”