People who like photography have encountered difficulties in recent years. Because it is associated with the apps that people of all ages communicate, it is done for the background, which disperses your DMS. The artistic boom has led to the neglect of medium in gallery (because you can’t actually see the same ROI for photography as painting), and now the market has fallen, the only answer seems to be smaller paintings. It’s always a bit surprising that Apple, which occasionally is the world’s most valuable company, will commission a photography exhibition at the launch of its new iPhone and commissioned photography exhibition. But they have exhibited in the past two releases, and the latest iterations staged in Chelsea, London and Shanghai at the same time feel like this may have passed your average gallery exhibition.
The Old Pezel Space on 18th Street was held, and “Joey, Three Sections” was curated by Kathy Ryan, longtime photography director for The New York Times magazine. The show brings together works by Inez & Vinoodh, Mickalene Thomas and Trunk Xu, each responsible for explaining joy. The result is three working bodies, both handsome and strange, which is the honor of Ryan’s flexibility.
Inez & Vinoodh used tips to tell the love story of their son and his partner, with five images on it. “They see Joey as a love story for their son,” Ryan told Observer. Partly because they recalled their meeting at the art school. The artist’s inspiration comes from Zabriskie Point (1970) and its desert landscape, so take this opportunity to go to Mafa, Texas for filming.
Have a shadow wasteland (1973). In Mafa, the couple is accompanied by red fabric, which becomes their own character – a veil, a flag, a cocoon. Of course, fabric basically symbolizes love between two children, but it is by no means a standout like a cliché. “Whenever their work goes into surreality, something magic happens,” Ryan said. “That red cloth is almost like a character.”
The sequence comes with three vivid color images and comes with black and white portraits. A key frame – the red fabric running behind Charles and Natalie – it changes when the sun bursts into clouds. “You plan and plan and then hope that the performance will start by chance,” Ryan said. “Just before the sun fell, we got that amazing rainbow flare.”
Inez & Vinoodh looked outwards, Mickalene Thomas stayed at home. She chose Fort Greene Park, her local Brooklyn Greenland, and captured neighborhood life in seemingly candid encounters: dancers, rope jumpers, a pair of hammocks. Originally shot in color, the series turns during editing. “The first morning, she said, ‘You know what: I saw black and white.’ “It stripped away unnecessary noise and made you lean towards rhythm, form and emotion. ”
It was a bold move for someone related to her use of colors. According to Ryan, Thomas said politics is behind the choice. She wants to represent black people in a labor context. “This work refutes this narrative, and exploring rest is a form of resistance, power and self-rule,” Ryan said. They felt the record, the film and nature at one time.
Meanwhile, the Beijing-born Los Angeles-based tree trunk contributed in a more obvious way and chose to face the camera’s omniscience in daily life. “The whole idea is art, not advertising,” she said. But he is determined and good. For him, joy was wrapped up in the recording process. “The picture itself and the production of the picture is part of the dance in life.” His Tableaux shows the skaters, the worshippers and the couple taking pictures with each other on their phones, but closely compose in a subtle but not orthodox way.
Ryan ended our conversation by placing the phone in a long arc of photography: a report from 8×10 boards to 35mm, Polaroid Experiment, now a pocket device with multiple 48MP sensors. My favorite Xu’s image involves a pool shot that seems to be captured by a few people, but ironically you can’t see any of their phones.
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