Annual Carolina Global Photography Exhibition returns to FedEx Global Education Center

An exhibit showcasing finalists of the 2022-23 Carolina Global Photography Competition is now on display in the FedEx Global Education Center for the spring semester.

With images representing 30 countries, the exhibit reflects the Carolina community’s deep engagement with partners and communities around the world. The exhibition consists of photographs by undergraduate students, who make up three-quarters of the exhibition, as well as postgraduate students, staff and alumni. Carolina’s global photography competition has been an annual tradition for more than two decades, but this is the first exhibition since the start of the pandemic to feature new submissions.

A panel of Carolina students, faculty, staff and alumni judged nearly 300 submissions to select winning photos for first, second and third prizes. First-year student Zihan Liu won first place for “Old Man in Beijing.” The photo, taken in Beijing, China, shows a man in deep concentration leaning over a workbench with woodworking tools.

“It is not common to see a Beijinger still devoted to these traditional woodworks,” Liu wrote in his submission. “In such a fast-paced international city, I was grateful to discover a sense of peace.”

Senior Zheyu Huang won second place for “Under the Waterfall” and junior Julian Goldner won third place for “Dancer at Oruro Carnival”.

Carolina’s six area study centers selected spotlight photos for their respective regions.

  • African Studies Center: “Rugs” by Emilie Hofele ’24
  • Carolina Asia Center: “Vietnam, 2018” (rice field) by Phong Dinh ’18, ’22, (MHA)
  • Center for Slavic, Eurasian and East European Studies: “Panjshanbe Market” by Matthew Pierro ’23
  • Center for European Studies: “A ‘Street’ View of Venezia” by Cora Lubsen ’24
  • Center for Middle East and Islamic Studies: “The Skies of Mohammad Al-Amin” by Shelby Koelz ’23
  • Institute for the Study of the Americas: “Ixil Maya Ceremony of Blessing Their Native Corn Seeds” by Elva Bishop ’84 (MA)

Barbara Stephenson, vice provost for global affairs, selected “Heat Wave” by Laura Pratt, fellowship program coordinator of The Graduate School, as a spotlight for the office of the vice provost for global affairs.

Pratt took the photo while at the University of Tübingen in Germany as an organizer of the 2022 Royster Global Conference “Disruption, Digitization and Disinformation.” Tübingen is one of Carolina’s four strategic global partners.

In the photo, windows are open to create a cross breeze on a hot summer day, which inspired Pratt to reflect on the timing of the conference and its theme. “The irony of discussing misinformation and disinformation during a heat wave fueled by climate change (which some still consider “fake news”) was not lost on attendees,” Pratt wrote in the caption.

“This photo – of our German partners dealing with a heat wave, not by turning on the AC, but by opening every window – reminds me of the rich (and very open) conversations we had in Tübingen, where the coming winter without Russian oil and gas supplies was on everyone’s mind,” Stephenson said.

The competition received more submissions from the Curriculum in Global Studies than any other academic program, followed by the Hussman School of Media and Journalism and the political science department. The social sciences had the highest representation among academic disciplines, but STEM fields followed closely.

Some of this year’s submissions remind us of the impact of the pandemic.

Senior Preston Fore captured “Loving They We’ve Lost,” a shot of the National COVID Memorial Wall in London, which stretches more than 500 meters along the south bank of the River Thames. The wall is made up of more than 200,000 hand-painted hearts, one for every person who has died from COVID-19 in the UK.

Although the contest usually sees many photos from Australia, only two submissions were taken there, indicating pandemic-induced travel restrictions. Most of the photos submitted were taken in Europe, followed by Asia and Latin America.

Many of the photographs on display convey a sense of reflection or perspective, from window views to literal reflections in water, such as “Hygge Harbor” by John Ratkowiak, which depicts a peaceful reflection of buildings along a street in Copenhagen, Denmark , capture. “Chinatown Machine Shop” in Bangkok, Thailand by junior Andrew Lewis captures a juxtaposition between modernism and religious tradition.

The exhibition and competition is organized by the Office of the Vice Provost for Global Affairs. It is free, open to the public, and on display during the spring 2023 semester.

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Photo Exhibition Interview: Silt of Each Other

Signal (II), 2022.
Photo: Genesis Báez

In her 2019 book Silt: Prose Poems, Puerto Rican Jewish poet Aurora Levins Morales considers nature and its roads and who owns them. She draws inspiration from the story of a congressman who argued in the late 1890s that Cuba was made of silt washed from the mouth of the Mississippi River, making it American soil. That gritty imperialism prompted Morales to do “poetic research,” to trace the remains exchanged between the river and the Caribbean Sea. “What are we but the scum of each other?” she asks in the book’s foreword. “Every molecule of oxygen we inhale has been breathed in by every other set of human lungs a billion times before, crossed the panting tongues of dogs and leopards and tiny jeweled snakes, fueled the tiny hearts of hummingbirds and the great hearts of gorillas, past in and out of clouds and rain and waterfalls, rising from the oceans into the planetary sky. Whose does it belong?”

Her words inspired photographers Genesis Báez and Jennifer Calivas’ two-person exhibit at Justine Kurland Studio, “Silt of each Other,” on view through January 22. The work furthers Morales’ exploration of fluidity and belonging through the static lens of a camera. Bodies are sucked into the sediment in Calivas’s black-and-white portrait and pictograms; in Báez’s digital color shots, they are scattered across the Puerto Rican diaspora, held together and apart by oceans and wires. The two artists have been friends for more than a decade—they met at the Vermont Studio Center, and later pursued their MFAs together at Yale. This exhibition comes out of years of conversations about the play, practice and pleasure of picture-making, to prioritize not only what is seen, but also what is felt: the sway of mud and sand; joy and intuition.

Self portrait while buried #9, 2019.
Photo: Jenny Calivas

Like silt exchanged between bodies of water, the two learned from each other, give and take. “We were kind of drawn to each other as people quickly, just got along very well energetically,” says Calivas, sitting next to a denim-clad Báez in the intimate Dumbo gallery. “Genesis worked in a way I wasn’t used to seeing. She did all this weird stuff. She had a glass flask of water that she pushed around her studio.” (The water would eventually become a photograph of Báez and her mother lifting the pitcher together, a mother-daughter ritual that would inspire later works.) “I didn’t really think that much about the process of making things .” Báez, in turn, learned from Calivas: “I remember being just like, Oh my God, this person really listens to their gut,” she says, recalling a hike where Calivas shared her idea to make a video of someone rolling down a flower-patterned hill. “I remember Jenny saying: ‘I don’t know what it means yet, but I just have the feeling that this is what I have to do,'” says Báez. “It resonated with me.”

Báez’s “Silt” pictures are staged scenes of ritual and community that both bridge and emphasize the distance created by diasporic separation, and often include glimpses of her body and that of women in her family. Broken mirror shards reflect oceans—for Báez, symbols of both division and connection—and break mothers. In farewell, Báez and her mother braid each other’s hair; their black silhouettes cast a shadow that freezes the gesture in time. In Cruising time, her mother sits on a teal couch and holds up a gold thread, while the photographer’s shadow holds up the other side. The photographs began as part of Báez’s personal search for belonging. Born in Massachusetts to parents who immigrated from Puerto Rico in the 80s, she spent her life in the liminal space between the two places as she reckoned with the island’s colonial territory status. What does it mean to be from a place that “doesn’t exist”, she wonders? In recent years, after hurricanes caused a mass exodus from the island, Báez began to re-examine her feelings of placelessness and understood that her photographs might be more about disruption than they should be. Perhaps the latter is impossible. “I make the place, I am the place. I can belong in other ways,” says Báez.

If Báez is looking for a place, Calivas is looking for a body. The first time the photographer buried herself for a self-portrait, on the Maine coastline she used to wander as a child, she did it out of intuition, out of love for the natural world and her desire to be so close to it. be as possible. “I like to look at the ground,” says Calivas, who made her somatic earthworks by setting up large-format cameras in a well-lit spot before digging a body-shaped hole and calling in others to cover her until she could not move. everything, except for the hand that pressed the camera shutter. The final images playfully evoke Ana Mendieta’s Silueta series. It can be claustrophobic under the sediment, and Calivas sometimes meditates through it. Then she swims off the sand. “It’s my favorite thing to do in the world,” she says. “Being in this landscape and then that, is really a ritual. It’s this intense process, then wash off with water and pack away very carefully.”

Finding pleasure in the landscapes is also an act of recycling: When Calivas was 16, she fell asleep reading a book on the shoreline and woke up to a man staring at her and masturbating. Trauma is only one of many components of the work, but she examines the power dynamics of the incident through the camera; every time she captures a scene, she gives birth to a new and unpredictable body shape, one free of unwanted desire, with the space to be strange, funny, uncomfortable, or even no body at all – rather just an affirmation or extension of the earth that the artist loves. “Doing it over and over was almost like, Yes, I can be here,” she said. Báez nodded. “Like some kind of repair.”

Birth Exercise #6, 2021.

Self portrait while buried #5, 2021.

Selections from the series Body Mirrors, 2022.

Self Portrait While Buried #12, 2022.

Birth Exercise #3, 2021.

Self portrait while buried #7, 2021.

Self portrait while buried #10, 2019.

Beginner (as Diatom Scuzz) #1, 2021.

Self-portrait while buried #13, 2022.

A selection of works in “Silt of each other.” Genesis Baez, Jenny Calivas

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Tel Aviv hosts Izzet Keribar’s ‘The Synagogues of Türkiye’ exhibition

The Tel Aviv Embassy of Türkiye presents a historical exhibition unfolding “The Synagogues of Türkiye” in the historical building of the “Turkish Cultural Center” in Tel Aviv-Yafo.

The exhibition takes Israeli and foreign visitors to the religious sites of the Jewish community in different cities of Türkiye, especially in Istanbul. The photographs taken by the prominent artist Izzet Keribar, a Sephardic Jew, show the architectural features of the synagogues with the moments of worship, marriage and official visits held by the Jewish community.

The word “synagogue” comes from the Greek roots “syn”, meaning “together and past”, bringing together to serve the idea of ​​”being together”.

Keribar told Anadolu Agency (AA) that although the number of Jews living in Türkiye has decreased to almost 13,000, there are many synagogues in the country.

Keribar said: “The synagogues across Türkiye, from Antakya to Central Anatolia, to Ankara, and especially the synagogues in Izmir’s Havra Street, are timeless.”

Noting that the exhibition was especially welcomed by Israeli citizens of Turkish descent, Keribar added: “I cannot explain the excitement of those who come from the Turkish Union (in Israel). They were excited to witness this exhibition. “

Since Keribar’s photographs focus on synagogues, even the smallest one is precious to him, like a jewel.

Emphasizing the exhibition’s importance for Turkish citizens and Jews in Israel to recognize this religious heritage of Türkiye, Keribar said: “Even those who come from Türkiye and have lived in Israel for years don’t actually know (about these synagogues ). Yet people feel confident and happy when you bring these historic places of worship to life.”

Noting that it was also important for him to photograph and display these structures and turn them into books, Keribar added: “For example, Izmir is very interesting. Havra Street is magnificent. A synagogue is built every 10 meters (you can see it). Where else can you witness this? When you go into these places, you can observe the ornaments and the 150-year-old art. As a photographer, I try to unfold these differences.”

Keribar’s “The Synagogues of Türkiye” photography exhibition will be open to art attendees every Thursday and Friday at the Turkish Cultural Center.

“The Synagogues of Türkiye” photography exhibition by Izzet Keribar takes Israeli and foreign visitors to the religious sites of the Jewish community in different cities of Türkiye, Tel Aviv-Yafo, Israel, December 5, 2023. (AA photo)

Born into a wealthy Jewish family in Istanbul in 1936, Izzet Keribar began photography at an early age in 1952 after learning the techniques from his older brother Leon. The two wandered around the old districts of Istanbul, taking pictures of the streets, landscapes and people. When he went to Korea for military service in 1957, he developed his own approach to photography, which formed his unique technique.

After taking a long break from photography following his return from Korea, Keribar returned to the lens in 1980.

As Türkiye’s most important photographer with his archive of almost 1.5 million photographs of the country and the world, Keribar was honored by the International Federation of Photographic Art (FIAP) in 1985 as an “artist” and “excellence” in 1988. He has opened many local and international exhibitions and prominent photography organizations around the world have awarded him for his keen eye. He was also a jury member of many photography competitions.

In most of his interviews, the renowned photographer expressed how lucky he was to be born in Türkiye and to grow up and live with Turks.

He also shared that he never saw anti-Semitism in Türkiye, which Sephardic Jews warmly received.

Keribar also won Türkiye’s Presidential Culture and Art Prize in 2018 for his art.

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MoCA Westport Announces New Exhibition

A new exhibit, “Paul Camacho: El Ritmo y La Unidad” (Rhythm and Unity), will be on view at MoCA Westport from January 13th through February 26th. It features approximately 50 selected works by Paul Camacho, drawn primarily from the Westport Public Art Collections. The show also features works on loan from the Housatonic Museum of Art in Bridgeport and the Benjamin Ortiz and Victor P. Torchia, Jr. Collection.

An opening reception will be held on January 12 from 17:00 to 19:00. The reception is open to the public and is free for MoCA members. Advance registration on mocawestport.com is requested.

The exhibition was curated by Alexandra M. Thomas, an art historian, critic, curator and PhD candidate at Yale University in art history and African American studies, with a certificate in women’s, gender and sexuality studies.

This year’s annual collaboration between MoCA Westport and WestPAC will once again allow audiences to enjoy selections from WestPAC’s holdings of more than 1,800 works of art at a public venue. Most of these works are housed in public schools and municipal buildings, which are not always accessible to the public. The exhibition will also include a “Learning Gallery” with approximately 20 works of abstract art from WestPAC’s collection, curated by WestPAC Committee Chair Ive Covaci.

The upcoming cocktails and conversations will also focus on the exhibition every Thursday from 6:00 pm to 7:00 pm starting January 19 with “Paul Camacho in Westport.” “The Intersection of Art / Fashion / Design and Art Collecting (Investing 101)” will be January 26, the curatorial conversation with Thomas on February 2 and art conservation on February 16. The evenings are free for members and $10 for non-members. Advance registration is requested.

Visit mocawestport.org or contact Liz Leggett, director of exhibits, for more information. MoCA Westport’s winter hours are noon to 4 p.m. on Wednesdays and Fridays through Sundays, noon to 7 p.m. on Thursdays. MoCA Westport is located at 19 Newtown Tpke. in Westport.

Taxes are due

Tax collector Christine Alison reminds residents that property tax, personal property tax, supplementary motor vehicle tax, sanitary sewer use and assessment charges are due on January 1 in the third quarter. Taxpayers have until February 1 to pay taxes without penalty. Bills will be subject to an 18 percent (1.5 percent monthly) penalty if paid late. Minimum interest charge is $2.

Taxes can be paid by credit card, debit card or electronic check from a checking account online at westportct.gov.

Checks should be made payable to “Town of Westport” and mailed to: Town of Westport-Tax Collector, PO Box 350, Westport, CT 06881.

Personal payments can be made at the tax collector’s office, room 109 in City Hall, 110 Myrtle Avenue. Office hours are 8:30 a.m. to 4:30 p.m., Monday through Friday.

24 Owenoke Park recognized for sustainability

The town and Sustainable Westport recently announced 24 Owenoke Park is the 2022 recipient of the Westport Green Building Award for achievement in sustainable design and construction.

The team includes owners Keith and Kate Melnick, architect Jack Franzen, interior designer Chrystal Toth and builders John and Steve Segerson, Pam Brennan and Segerson Builders.

The award recognizes residential and commercial projects that make, or have made, significant contributions to sustainability and Westport’s future as a Net Zero community.

The Melnicks moved to Westport in 2016 with the goal of incorporating the sustainable building features they discovered while living abroad in Switzerland and Australia into their new home. Sustainable aspects of 24 Owenoke Park include an efficient building envelope, use of sustainable building materials, a solar photovoltaic system, energy efficient appliances and a geothermal heating and cooling system.

To learn more about how to make your home more sustainable, refer to the Sustainable Westport Green Building Awards Program on Sustainable Westport’s website sustainablewestport.org, and follow the link to guidance for applicants.

Pequot Library welcomes 2023 with free programs

Pequot Library is ringing in the new year with a series of programs, most of which are free and open to the public.

The events kick off with the announcement of this year’s One Book, TJ Klune’s “House in the Cerulean Sea,” at 10 a.m. Jan. 10 at the Fairfield Main Library.

On Jan. 11, a book club led by head librarian Christine Catallo and inspired by the library’s Shakespeare collection will be held at 11 a.m. and discuss “Macbeth.” Explore Shakespeare’s plays by viewing their earliest publication within the folios and reading and comparing his original works and their modern interpretations.

Play With Your Food will feature a short reading, talk back with the actors and director, and box lunches from local restaurants (to stay or to go). The 2023 schedule includes February 15, March 22 and April 19. Tickets cost $60, and a four-month subscription costs $224.

Children in grades four through eight can create a soda bottle compost on January 18 at 4:15 p.m.

The new Silent Book Club starts on January 19 from 6pm to 8pm. SBC will be offered on the third Thursday of each month. It is a worldwide community of readers and introverts, with 300 chapters. Members gather in person and online to read together in quiet camaraderie.

A family movie night will be held Jan. 20 at 5 p.m. with a screening of “Frozen.” Children can wear their pajamas, bring a blanket and their favorite stuffed animal friend. Popcorn will be provided. A group of cast members from Westport’s Bedford Middle School’s recent Frozen, Jr. musical will kick off the evening with a few songs.

There will be four digital Meet the Author events starting with Namina Forna, author of The Gilded Ones series at 2pm on January 7th. William Maz will speak on “The Bucharest Dossier” on January 12th at 18:00. Dana K. White will lead a talk titled “Decluttering to Begin Your New Year” at 2:00 pm on January 17th. Randall Munroe of What If? will speak on January 31 at 2:00 p.m.

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New exhibition reveals a forgotten Iraq through the lens of photographer Latif Al Ani

Latif Al Ani’s exhibition of photographs at The Farjam Foundation in Dubai presents a cultural milestone. Not only does it celebrate the work of a pioneering 20th-century Iraqi photographer, who died in 2021 aged 89, but it is also a glamorous and, in retrospect, haunting record of Iraq from the 1950s-1970s.

Titled Latif Al-Ani: Documenting the Unforgettable and the Forgotten, the ongoing exhibition at the Dubai International Financial Center gallery features three sections of Al Ani’s work. The first focuses on his photographs of Iraq’s changing architectural landscape, the second captures Baghdad’s postcolonial society and the third showcases his work in rural Iraq.

“Latif’s photographs are very much driven by this idea of ​​a postcolonial nation in the making,” says Morad Montazami, art historian and curator of the exhibition. The National. “I approached his work as documentary photography and tried to find the patterns that reveal the story of this documentation.”

The narrative of Al Ani’s work is a profound one. He is known as the “father of Iraqi photography” for his work depicting the country before the rise of Saddam Hussein, but Al Ani did more than just document a changing nation and its people. He is celebrated for capturing the spirit of Iraq’s golden age, a country that experienced a socio-economic boom during the post-colonial monarchy as it entered a modern, exciting future while retaining its rich heritage .

Whether the photographs in the new exhibition are viewed in the order presented in the space or sporadically, the impression is the same. Beautiful sites and poignant moments, filled with optimism, idealism and nostalgia.

Images flash by, depicting fragments of Iraq’s magnificently varied cultural heritage: humble factory workers, ceremonial parades, the great minaret of Samarra, modern urban architecture, a young woman playing the accordion, a boy carrying a baby goat on a desert road holding, pre-Islamic monuments in Hilla, Jewad Selim’s Freedom Monument in Baghdad’s Tahrir Square, a farmer watching over his sheep as they graze in front of ancient ruins, palm trees, waterfalls, flowers, mountains, rivers.

Through these black and white flashes – stark, perceptive and layered with meaning over time – Al Ani captures the cosmopolitan life of Iraq during a period of rapid change.

“You can see the pre-Islamic and somehow the Islamic [influences]perhaps due to the coexistence of so many archaeological sites, and also the westernized modernist architecture,” says Montazami.

“All these things coexist in the same space, in the same time, which is the Baghdad of the 1950s and ’60s. What Latif’s photos show is almost science fiction in a way. Because if you ask me today, where in the world would you find pre-Islamic archeology or artifacts, and Islamic, and some kind of westernized modernim, coexisting… I’m not sure.”

Latif Al Ani in Sulaymaniyah, Iraq, in 1957

Through a discerning eye, a deep understanding of the current zeitgeist and his artistic instincts, Al Ani’s work has transformed Iraq’s unique tapestry of history, heritage and something concrete and real.

Montazami believes that through his photography, Al Ani was able to capture a distinct time and spirit while capturing a unique cultural landscape better than anyone else in the region.

“It continues to challenge our conception and challenge our boundaries on these ideas of pre-Islamic and Islamic, and traditional and modern, in a concrete space at the expense of ending up only in photography, a kind of visual memory. But it is a strong one. You can reproduce it, you can print it.”

The sense of nostalgia in Al Ani’s work is almost overwhelming.

His photographs are as beautiful as they are tragic, for those who have heard of Iraq’s “golden era” and perhaps more profound for those Iraqis who have inherited the stories from their parents and grandparents, of a homeland ripe with potential to become, as it once was in ancient times, a center of cosmopolitan life, a beacon in the region and beyond.

Al Ani’s understanding of Iraq’s cultural, social and political fabric went beyond his work as a photographer documenting the changing times of his country.

Industrial School, 1961, by Latif Al Ani

Born in Karbala in 1932, Al Ani completed an internship at the Iraq Petroleum Company in 1953, where he covered the company’s projects for its two newspapers, Ahl al Naft (People of Oil) and Iraq Petroleum. During this time he developed photography from a hobby to an art form.

Reflecting on his inspiration, in a previous interview with the NationalAl Ani said, “I was interested in the social and human life of the Iraqi people,” adding, “That’s what I tried to document.”

In 1960, Al Ani worked at Iraq’s Ministry of Culture, setting up its photography department and its magazine ‘New Iraq’, before heading the photography department at the Iraqi News Agency in the 1970s. In many ways, through his own observations and his work in government sectors, he was able to foresee the nostalgic potential of his work.

“He felt that all this beauty and all this social growth was already threatened and already somehow destined to be lost through political crisis and coups and political corruption,” says Montazami.

“He was quite bitter, and that bitterness explains how he just flat-out stopped taking any pictures and put the camera aside for the rest of his life from 1979.”

When Saddam Hussein came to power and banned public photography, Al Ani suddenly stopped capturing the world around him.

Housing Project Office, Yarmouk, Baghdad, 1962 by Latif Al Ani

After decades in creative hibernation, in 2015, when the Ruya Foundation, an Iraqi cultural foundation, staged an exhibition of his photographs for the Iraqi Pavilion at the Venice Biennale, international interest in Al Ani’s work began to increase – particularly to a subsequent retrospective held at Sharjah Art Foundation in 2018.

Looking at his work today, it’s hard not to wonder if Al Ani deliberately photographed what he expected to disappear quickly. His work, whether slightly staged or capturing what was unfolding before him, is effortless yet imbued with multiple meanings.

“There is this kind of visual strength or visual appeal, that almost every detail of the frame becomes relevant in Latif’s photograph,” says Montazami.

“They have so much of this documentary impulse, which is this ability to seize a moment or a figure or a place, and make almost the most dramatic, or the most decisive, representation of that figure or that place or that moment give.”

And while one has to appreciate Al Ani’s artistic choices and stylistic prowess, it’s hard to look past the glaring nostalgia of his images, especially in light of the turmoil Iraq has experienced over the ensuing decades and continues to face stare.

“Most of these photos are unforgettable,” adds Montazami.

“They are as impressive in their grasp of the moment, or the place, as they are for your ability to remember them. They have this kind of iconicity. They look like the best view of every place or every figure of that time.”

Latif Al-Ani: Documenting the Unforgettable and the Forgotten is on display at the Farjam Foundation in the Dubai International Financial Centre. More information is available at farjamcollection.org

Browse images of the Pearls of Wisdom exhibition detailing Islam’s contributions to the world below

Updated: December 31, 2022, 1:35 p.m

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‘Istanbuls Today’: Pera Museum’s exhibition visually narrates city

In its latest exhibition “Istanbuls Today,” the city’s Pera Museum gathers contemporary visual narratives of Istanbul into a creative visual interpretation of the city today. The exhibition features the work of 11 photographers living in Istanbul and offers striking snapshots of the city in their unique styles.

The new exhibition of the Suna and Inan Kıraç Foundation Pera Museum, “Istanbuls Today” brings together recent works of 11 photographers under various themes, as the photography exhibition touches on the artists’ way of interpreting the city as a personal interaction space, while the idiosyncrasies of a city that is so mundane and extraordinary.

The themes range from the city’s topography of emptiness, loneliness, anxiety and incongruity to its socio-political dynamics, the migration issue that has become more apparent in the last decade, to young people who took refuge in Istanbul to avoid marginalization.

From the series “Auto-Orientalism” by Ekin Özbiçer. (Pera Museum Photo)

“Istanbuls Today” is a narrative about the city’s state of flux and transformation. According to exhibition curators Refik Akyüz and Serdar Darendeliler, “The last 25 years have been an interesting period during which Istanbul has grown a lot physically, consequently undergone a cultural change and lost – or surrendered – its culture due to internal and external migration, gentrification , urban transformation and political atmosphere: Topics explored in the exhibition And ‘Istanbuls Today’ is a photography exhibition designed to collect current narratives about this state of change and transformation in Istanbul, hoping to create a establishing a layered view of the city’s present and creating a substantial repository for future retrospective analysis.”

According to Akyüz and Darendeliler, the exhibition takes cross-sections of the city to serve as examples of the different “Istanbuls” experienced today. While doing so, the artists focus not only on the lives of city dwellers, but also on its topography and built environment, current social/political dynamics, ecological challenges, its everyday extraordinary peculiarities, alternative cultures, the issue of migration that has intensified in the last decade, but was always part of the city’s story.

Meanwhile, many writers who have studied, reflected and fictionalized the city of Istanbul in their works draw inspiration from the photographs displayed in the exhibition in their articles, adding another layer to both the exhibition and its catalogue.

Memory and change

A selection of photographs exploring social movements in the city, Istanbul’s relatively new recreational areas and how people form relationships with them, the transformation in the middle and lower class neighborhoods around Galata, Keçi and Cendere streams at the intersection of Kağıthane and Şişli -districts, locations that once served as the epicenter of modernity in the Ottoman Empire and remained relatively untouched until the rapid development effort in recent years.

Out of the series

From the series “Auto-Orientalism” by Ekin Özbiçer. (Pera Museum Photo)

Seek refuge in Istanbul

Some works focus on the lives of people who arrived in Istanbul to find a place where they can live and be as they want, free from family and social pressure, and the stigmatization they face in the social hierarchy, but ultimately the risk of being trapped in the very sanctuary they found in the city. On the other hand, by gathering and hoarding fleeting, often ephemeral fragments of Istanbul in collections, the artists unfold the highly complex, somewhat gloomy, somewhat playful, but always curious bond they have established with the city.

With the city of Istanbul as his main source of inspiration, one of the artists, Erdem Varol has a distinctive style where he gets as close as he can to the living/inanimate subjects he encounters in the streets of the city, and “blows them out” with the flash of his camera. He joins the exhibition with a collection of photographs that visualize Istanbul – often humorously – on the seesaw between East and West, tradition and modernity, and crowds and solitude.

Ekin Özbiçer takes an oriental look at both herself and her city as a member of a relatively westernized middle class, and reflects – through spontaneous mise-en-scènes – on the social changes that have taken place in Türkiye in the last 10 to 15 years. characterized on the scale. from Istanbul.

The “Istanbuls Today” exhibition will be on display at the third floor exhibition hall of the Pera Museum until April 30, 2023.

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RAM’s Peeps Art Exhibition creator to retire after 40+ years

RACINE – The woman behind two popular Racine Art Museum holiday attractions, the Peeps Art Exhibition and The Art of AdOrnaments, is retiring after more than 40 years at the museum.

RAM’s head of guest services and retail, Lisa Englander, will leave her post on December 31.

Her involvement with RAM began with a solo show on the original Wustum campus, continued with teaching various activities, managing a small gift counter to finally managing the Museum Shop and guest relations.

In retirement, Englander plans to return to her life of studio painting, where she was previously recognized nationally and internationally. She has a solo exhibition of her own work scheduled for late spring 2023 at OS Projects, 601 6th St., Racine.

She said she has a few other pending projects that will get her back in the studio.

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“I knew it was time (to retire) because I took the store through the pandemic,” Englander said while at the RAM Museum Store this month. “I mean, look around. There are many things to buy. I put my imprimatur, I put my stamp on this. It’s time for someone else to take it and move it on.”


“Under Englander’s management, our store has helped make Downtown Racine a more pleasant and welcoming place for everyone to visit, while helping people learn about art and contemporary craft,” said RAM Executive Director and Curator of Collections. Bruce Pepich said, who is also Englander’s husband. “In her time at RAM, Englander has been particularly focused on serving our guests, whether through her enthusiastic promotion of the annual Peeps art exhibit or by offering a host of special services to the store’s customers. We are grateful for her dedication to the museum and the many communities it serves.”

A decade long career

A native of New York, Englander moved in 1975 to begin graduate school, studying printmaking and museum methods, at the University of Wisconsin-Milwaukee.

She won a watercolor competition and earned her first solo exhibition at RAM’s Wustum Museum campus in 1979. The museum then offered her a job teaching puppetry to children. She also learned drawing and later became a watercolor instructor.

She started running a small gift counter at Wustum in 1983.

Lisa Englander in March 1990

Lisa Englander is pictured at home in March 1990 with some of the prints she then displayed at the Wustum Museum in Racine.

Paul Roberts, Journal Times file photo

In 2001, when the opening of RAM’s location at 441 Main Street was in its planning stages, museum leadership offered Englander the job of setting up and running the Museum Store as a full-time paid employee.

“I’ve never done anything like this,” Englander said, noting that she had to come out of the studio to take the job. “When I was asked to come and do it, I said, ‘I’ll come out of the studio for three years, I’ll help you do it and then I’ll go back to painting.’ It’s already 21.”

Dog Auction Local GS 3

Artist Lisa Englander draws SpiderRAM for Mike Skemp after he bought the dog, during the Dog Days of Summer public art auction, Oct. 13, 2002, at State and Main Streets in Racine. SpiderRAM sold for $1,000. Proceeds from the sale benefit the Racine Art Museum and the Downtown Racine Corporation.

GREGORY SHAVER, Journal Times file photo

She started working at the RAM Museum Store on July 1, 2002, and the store opened that fall.

“As a displaced New Yorker, I wanted a place where I could shop,” she said. “I came with a list of products that I wanted to see in Racine … I wanted to present a store where people would come in and say, ‘This is the best museum store in the country.’ And they do.”

The store carries handcrafted functional and decorative objects, artist-made clothing and jewelry, books, gifts, and children’s toys that reflect RAM’s educational programs, exhibits, and permanent collections.

A few years into the job, RAM’s leadership asked Englander to oversee the museum’s guest relations along with retail operations.

Englander hoped to support artists’ careers by highlighting their work in the store and promoting sales. She added that working with the approximately 300 artists and building work and personal relationships with them were some of the best parts of the job. Watching the museum collection grow, working with “wonderful staff,” receiving gratitude from customers for her decades of service, and seeing people wear things they bought at the store were others.

Racine Art Museum Store file photo

Lisa Englander, center, talks with David Wysocki in the Racine Art Museum gift shop, 441 Main St., on November 14, 2002.

MARK HERTZBERG, Journal Times file photo

“It was a great opportunity to share my taste and things I admired with a wider audience,” Englander said. “I have found my work at the museum to be challenging and extremely rewarding. I am grateful to have had the opportunity to serve RAM, its mission of service, the community of artists and the public.”

Peeps file photo

Lisa Englander, who runs the gift shop at the Racine Art Museum, is showing off a Peeps-inspired handbag for sale in April 2019. Englander came up with the idea for a Peeps art exhibit.

JOHN HART, Lee Newspaper file photo

Englander inaugurated RAM’s annual International Peeps Art Exhibit, which showcases art made from or inspired by marshmallow peeps. The public can participate by submitting work.

“I kind of love vacations,” Englander said. “What happens to people’s psyche during the holidays, and what happens in shops and stores, is always interesting to me.”

The idea for the Peeps display came from walking down the Peeps aisle at a local pharmacy.

“I wanted to bring people to RAM at what I thought was a wonderful time of year, knowing they would see something vibrant and exciting,” she said. “It was just something to peek over.”

It was originally planned to be a small exhibit inside the RAM Museum Store, but the event quickly drew a large audience and gained attention from the greater Racine community and across the country.

Now in its 14th year, the event featured more than 2,000 different works of art and objects inspired by the popular spring candy.

Englander also founded a second public participation initiative, The Art of AdOrnaments. It was implemented so that during the holidays, when patrons shop and walk through the museum, there is something creative in the back, Englander said.

This year’s display includes holiday-inspired ornaments, creative conifers and snowflakes that are five inches or smaller in size. It continues at RAM until December 29.

Englander said it feels “pretty good” to have worked at the museum all these years and implemented the two exhibits.

“I think I did a good job,” she said. “I feel like I’ve contributed to the community here by helping keep great art in this community and keep it moving forward. And I hope to continue to do so.”

For the full story on Brian Bzdawka’s road to artistic success, pick up a copy of Monday’s Journal Times

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Nigerian Photographer Stephen Tayo Shows Range In London Exhibition – ARTnews.com

Lagos-based 28-year-old photographer Stephen Tayo has made a name for himself as a vivid documenter of Nigerians’ unique fashion sense for the New York Times, VICEand Vogueas well as a portraitist of major African cultural figures such as Burna Boy and Davido.

This fall, however, Tayo was featured in Human Stories: The Satirists, a group exhibition at London’s NOW Gallery. The show, which also featured Thandiwe Muriu, Bubi Canal, Leonard Suryajaya, Nyugen Smith and Thy Tran, explored satire in photography and how it can be used to develop and nurture interconnected identities of gender, race and class.

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In recent years, Tayo has been increasingly recognized by the art world for his portraits. Renowned art critic, curator and Gagosian director Antwuan Sargent featured Tayo’s work in his 2019 book. The New Black Vanguardand the accompanying exhibition at Aperture Gallery in New York in 2020.

On NOW, Tayo showed “Which Lagos You Dey?” a photo series that as part of his To Lagos We Dey anthology, use depersonalization. In these new works, Tayo removes the human subjects central to his earlier work and replaces them with anonymous figures draped in objects that represent certain Lagos-specific rituals.

“Everyday After Celebration 1,” Stephen Tayo.

“I wanted to create a relationship between the city and people in a dynamic way,” Tayo said ART news. “The idea is really to see how I can build around the elements of Lagos through the street sound, fashion, signs and the things we find about Lagos that are so common that sometimes we don’t think we need to explore them.”

Tayo added that he wanted the new series to reflect the specificity of his identity as a Lagos-based Nigerian artist, not just an African creative.

Tayo mainly learned how to be a photographer by watching YouTube tutorials while he was a philosophy student at the University of Lagos. However, he does not consider himself an autodidact.

“I didn’t have to go through training in the physical sense. A lot of the things I learned in photography came primarily from digital space, he said. “When you learn online, I don’t think it’s self-taught anymore.”

Tayo’s passion for photography, he said, came from his realization that he didn’t have enough photos of himself growing up. As a child, he and his family moved frequently and whatever photos were taken were often lost during the moves.

“I started documenting in the sense of archiving,” he said. As he moved through college, he began documenting the people in his life — cousins, nephews, siblings and friends — with his iPhone. The reaction of his loved ones was encouraging and he began to expand to document his classmates and the architecture on campus.

“A lot of these things change. From wanting to document children to [my] friends to now make stories about the times we live in, the conversations that are going on,” said Tayo.

Tayo’s training in philosophy has inspired his approach to photography, he said, as he uses the camera to question diverse experiences and encourage dialogue.

“Philosophy is very much keyed into human practice, and [my work] as a photographer [includes] to engage with people and places,” he said.

His work is influenced by the likes of Malian portrait photographer Seydou Keita, Malian pop culture photographer Malick Sidibe and Nigerian photographer Samuel Fosso, who was known for his self-portraits that used different personas to comment on African history.

In 2018, Tayo was commissioned by Dutch streetwear brand Patta and Nike to shoot a campaign for the launch of their collaboration which was showcased in London. Tayo was then hired to shoot a Havana Club campaign for the UK with Nigerian-British rapper Skepta in Cuba. About the same time, the Times first hired the photographer to document Lagos fashion.

He also developed a project with Apple on stories from the COVID pandemic. In 2020, he received a nomination at the British Fashion Council Awards in the ‘New Wave’ category.

In July this year, his photo series “What if?” was exhibited at the V&A as part of the Africa Fashion Exhibition, which was recently extended until April 2023.

Tayo’s rise and rise comes from his trademark style of fusing documentary and fashion to elevate everyday moments and highlight the beauty of his community.

Tayo is unabashedly committed to showcasing its community. “I think every [African] creative should only focus on the peculiarity of their space. Be proud of it and show it to the world.”

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Treasures from the Silk Road are revealed at Louvre exhibition of Uzbek art

Written by Rochelle Beighton, CNN

Pages from one of the oldest Korans in existence, and a painting described as Uzbekistan’s “Mona Lisa,” are among the historical treasures on display at a new exhibition at the Louvre museum in Paris.

“The Splendours of Uzbekistan’s Oases” features more than 170 works that offer a glimpse into the country’s past, including celebrated murals, Buddhist sculptures and everyday items belonging to ancient civilizations.

The exhibition is co-curated by archaeologist Rocco Rante, who has been excavating in Uzbekistan’s Bukhara oasis since 2009. The area was once a prominent stop on the Silk Road trade route that passed through present-day Uzbekistan hundreds of years ago, linking the Mediterranean with the Far East.

The star attraction is two pages from the Katta Langar Koran, one of the world’s oldest surviving Koranic manuscripts, dating from the early days of Islam. It was preserved for centuries in a mausoleum in a small village on a mountain top.

“With the help and support of our Uzbek colleagues, we have brought to light and restored one of the oldest Korans from the 8th century, which is a great discovery,” said Rante.

The Katta Langar Quran is considered to be one of the oldest surviving examples of the text. Credit: Li-Lan Hou/CNN

Created in partnership between the Louvre Museum and the Uzbekistan Art and Culture Development Foundation, the exhibition takes visitors on a political and historical journey of Uzbek life over 1,600 years, from the first century BC.

According to Yannick Lintz, co-curator and former director of Islamic Art at the Louvre, the Silk Road is at the heart of the exhibition, which highlights relics found along its caravan routes.

“Everyone knows those roads were for economic exchanges between east and west, but they were also intellectual, artistic and technological roads,” said Lintz.

Lintz hopes to transport people back in time with treasures from the eras of Alexander the Great, Genghis Khan and Amir Timur (aka Tamerlane), who founded a vast Central Asian empire in the 14th century.

“It was important for me to show the visitors that we can have cultural, religious and artistic dialogues in this part of the world between China, India and Iran, because Uzbekistan is in the middle,” added Lintz.

Treasures Revealed

Together with experts from Uzbekistan, the Louvre carried out large-scale restoration works on many of the exhibits. Among the objects to be restored was the 14th-century Gūr-i Amīr door from Tamerlane’s mausoleum in Samarkand, a city in southeastern Uzbekistan.

“In the door we found large iconography representing the society of Samarkand. We found details in the center of the door where the divinity was sculpted. Around it you can see different figures offering something to this god,” said Rante.

Uzbek paintings have also been preserved, including monumental wall paintings from the princely residence of Varakhsha, dating back to the 4th century. Located in the northwest of the Bukhara oasis, the city of Varakhsha was once occupied by the Sogdians, an ancient people who lived on the Silk Road.

The 8th century “Painting of the Ambassadors” was rediscovered by chance in 1965. Credit: Li-Lan Hou/CNN

Also on view is the famous 8th century Sogdian fresco known as “The Painting of the Ambassadors,” accompanied by a series of murals depicting the ancient city of Afrasiab. Parts of “The Painting of the Ambassadors,” are missing, and its meaning is only partially understood, but it is nevertheless considered a masterpiece.

“The Ambassadors painting is a national treasure for the Uzbek people,” Lintz said. “What I call the Uzbek Mona.”

“The Splendours of Uzbekistan’s Oases” exhibition at the Louvre Museum Paris runs until March 6, 2023.

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Dawoud Bey & Carrie Mae Weems’ Exhibition Showcases Black Life In America
Visitors observe and discuss the various series in “Dawoud Bey & Carrie Mae Weems: In Dialogue” on Nov. 17 in Seattle. The exhibition is organized into five sections in which Bey and Weems’ works are grouped together thematically. (Photo by Faith Noh)

By Faith Noh

A photography exhibit that reveals a glimpse of black life and history in America opened last month at the Seattle Art Museum with “Dawoud Bey & Carrie Mae Weems: In Dialogue,” a show composed of thematic series of the two award-winning photographers.

“Black people were killed because they looked at the wrong person. I want my subjects to reclaim their right to look, to see and to be seen,” says Bey in the exhibition’s description on SAM’s website. The exhibition displays more than 140 works from various decades.

Bey and Weems first met in the 1970s in New York City. As friends and colleagues, they shared similar themes in their artwork despite their distinctive career paths. Another similarity is their prestige – Weems was inducted into the International Photography Hall of Fame in 2020 and Bey was inducted a year later.

This exhibition is the first time that their artworks have been brought together. The exhibit, organized by the Grand Rapids Art Museum, debuted earlier this year and will travel to various locations around the country through next year.

In the exhibition, many pieces revive parts of Black histories that are often neglected. For example, Weems’ “Sea Island Series” reveals the distinctive Gullah culture preserved by enslaved Africans on the coastal islands near Georgia and the Carolinas.

Visitors enter “Dawoud Bey & Carrie Mae Weems: In Dialogue” for opening night at the Seattle Art Museum in Seattle on November 17. The exhibition will be open until January 22. (Photo by Faith Noh)

On opening night, the Seattle Art Museum hosted a conversation with Bey, one of the two photographers of the exhibit. The conversation was moderated by Catharina Manchanda, a curator for the SAM.

They talked about Bey’s thought processes throughout his 40 years of photography.

“Even in your earliest photographs, you really have a very thoughtful approach to your subjects,” Manchanda said. “You approach each of these subjects with a lot of respect and dignity, and you give them this incredible presence in those photographs.”

Bey responded by describing the ethics behind his work.

“I wanted to find ways to make the process more reciprocal, more dialogic,” Bey said. “How can I address this hierarchy that does exist between photographer and subject, which usually privileges the photographer?”

For example, Bey shared how he took photos of the Black community in Harlem.

“I was aware that even though I was African American, I was still an outsider. I was still a stranger,” Bey said. “So it was important for me to spend a lot of time in that community and establish my presence in the community before making work. Also to familiarize myself with the community I haven’t spent time with since childhood.”

Bey and Manchanda also discussed the landscapes in Bey’s “Night Coming Tenderly, Black” series. The locations of these photos are part of what is considered the Underground Railroad.

“There are no people in these photos,” Manchanda said. “It’s really the landscape that embodies a history, so there’s something very beautiful about the tactility of these photographs.”

For example, “Untitled #25 (Lake Erie and Sky)” shows a solemn black-and-white landscape of restless waves and dark clouds—and nothing else.

Bey explained his intentions behind this artistic choice.

“The person actually moved from in front of the camera to behind it,” Bey said. “Because I take those pictures from the vantage point of someone moving through that landscape.

“It was trying to see that landscape through the eyes of a fugitive African-American making their way to freedom,” Bey said. “It determined the position of the camera.”

Audrey Destin, author of “The Vegetarian and Her Hunter” and “Moving Forward Optional,” attended the exhibition at its opening.

“I have a background in photography from college,” Destin said. “My major was fine art and my emphasis was black and white photography, so I was excited to see these works.”

“I loved ‘The Kitchen Table Series’ by Carrie Mae Weems. It really spoke to me as a woman as well as an artist,” said Destin. “The way each photo was centrally located at the kitchen table to tell a woman’s life story was extraordinary.”

“Untitled (Man Reading Newspaper)” is a photograph in “The Kitchen Table Series” by Weems. This series showcases the artist herself in a carefully staged photo essay that communicates the lived experiences of a woman. (Photo by Faith Noh)

Destin also shared what she will remember most about the exhibition.

“I will remember both the haunting, dark photographs of Dawoud Bey’s ‘Night Coming Tenderly, Black’ and ‘The Kitchen Table Series’ by Carrie Mae Weems for their strong ability to tell a powerful story,” said Destin.

Tickets for this exhibition are available online or at the museum. More information about the exhibition can be found on the museum website.

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