All Things Art & Photography
Keith Carter is one of my all time favorite photographers. He has been creating magic with a camera for over 25 years. He understands the power of selective focus like few others and he manages to find extraordinary moments in the most ordinary places. (My Desert and Nature Morte series were directly influenced by his work).
Meet one of the best visual poets to ever walk the planet…
All images via the artists web site.
The Photographs of Keith Carter
The very experienced and creative folks at SY/Partners are the best in the biz. They have a lot of experience helping business, individuals and corporations transform their client’s visions, organizations and individuals to become great at what they do. (They transformed the Starbucks brand from the bottom up…)
Their app for helping creatives get Unstuck was built on 20 years of experience and awarded one of the best apps of 2012. Their new app for helping teams is called Teamworks.
Keith Yamashita of SY/Partners shares his thoughts on what are the three habits of every great team and brings you into a highly functional corporate environment that specializes in helping folks See. They know what they are doing. Spend some time and change your life (or your business).
What are the Three Habits of Every Great Team?
Martin Kollar was invited to Israel to make some pictures. What he came back with is so unique and so uniquely Martin Kollar that you really can’t see the world any other way except through his eyes. This is the mark of all great photographers. Mr. Kollar has a photographic vision that is both absurd, surreal and brutally honest. His book Field Trip is published by Mack Books.
“Some of the places I had the impression that I was on a film set, and I tried to bring this to the images. You don’t really know when the reality and the fiction somehow stops and starts.”
Excellent article about why you should join a Photography Cooperatives or Collective over at NPPA.
“The “dizzying” pace of change in the photography industry has pushed many photographers to seek ways to reorient their approaches to business and find firmer financial footing. Some have turned to photography cooperatives or collectives, joining forces with like-minded photographers to market their work, seek out assignments and support each other creatively.
The lone-photojournalist model is harder and harder to sustain. Challenges include increasing costs, decreasing revenue streams from traditional sources, such as magazines, newspapers and stock sales, and the need to call attention to your work in a world that is inundated with images from myriad sources.
The question: How do you meet the promotional, sales and administrative challenges of photojournalism today and still find time to develop project ideas, shoot and process your work?
The cooperative business model is an old one. Individual businesses with similar interests come together to sell their products more efficiently. They join forces in marketing and delivery, often under a single brand. They share in profits based on the participation of each member. The bottom line behind cooperatives is economic safety in numbers”….
via https://nppa.org/page/photography-cooperatives-and-collectives
Should You Join a Photography Cooperatives or Collective?
Holland Cotter won a Pulitzer for his reporting on the art world and is one of the voices more should listen to when it comes to the overreaching influence of money on how and why art is made today.
…”Visit art schools or galleries, and you get the impression that a substantial portion of the art world is content to serve as support staff to a global ruling class. The reality is that, directly or indirectly, in large ways and small, the current market system is shaping every aspect of art in the city: not just how artists live, but also what kind of art is made, and how art is presented in the media and in museums”…
…”If archaeologists of the future unearthed the Museum of Modern Art as it exists today, they would have to assume that Modernism was a purely European and North American invention. They would be wrong. Modernism was, and is, an international phenomenon, happening in different ways, on different timetables, for different reasons in Africa, Asia, Australia and South America. Why aren’t museums telling that story? Because it doesn’t sell. Why doesn’t it sell? Because it’s unfamiliar. Why is it unfamiliar? Because museums, with their eyes glued to box office, aren’t telling the story”…
via Lost in the Gallery-Industrial Complex Holland Cotter Looks at Money in Art – NYTimes.com.