View allAll Photos Tagged weegee
I watched "Fur" couple of days ago and got totally inspired by a preppy outfit Diane (Nicole Kidman) is wearing when she first meets Lionel (Robert Downey jr.). This was a perfect casual outfit for lectures.
Dress: H&M
Shirt: WeeGee museum shirt
Shoes: Clarks
Bag: Ebay
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
He's climbin' in yo windows, snatchin' yo people up.
Hide yo kids
Hide yo wife
and hide yo husband because they rapin errybody out there.
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
Taken on a Sunday night on the main street in Buchanan, VA with a Koni-Omega Rapid press camera using Fuji Neopan Acros 100 and a Sunpak Auto 544 flash set to full power manual. Lens was the Hexanon 90mm set to f16 and a shutter speed of 1/60. Other than the flash, there was very little light, as all the shops were closed and had their signs turned off. This was my attempt at Weegee type nighttime street shots. These were also my first shots taken with this camera, which was sent to me by my father.
Whatever appeals to us in the photographs we look at as well as the ones we make or take is obviously subjective and discursive, but the discourse related to this image is – again – of new media technologies, communications, instaneity etc. It is also more explicitly about race, belief and gender, but this is how this image really happened. One sunny afternoon in early September, my son, out on a bike-ride along the Thames Estuary from Southend-on-Sea to Benfleet Creek, sent a picture via his mobile from Chalkwell showing a group of people all dressed in white performing some sort of baptising ceremony on the beach. I immediately telephoned him (old-skool Iand-line) to ask him how long ago he took it and whether or not they could still be there. His hunch was that they could be, so I grabbed my camera and drove there in about 5 -10 minutes. By the time I arrived, there was a sense that that things were winding down, but collectively the group certainly made quite a spectacular sight. There’s something almost biblical about the scenario. It might have been nice to photograph from the front but this would have meant framing them in front of very up-market and expensive suburban houses. I think the group originates from Nigeria and it was only after a couple of minutes shooting that one of the party admonished me for taking photographs. My assurances that I’m not press, media, documentary expose film-maker but just a humble teacher don’t carry much weight, but I got to keep the camera. Indeed, the guy who seemed to be the ‘leader’ (obviously a patriarchal set-up judging by the gender division) gave me a leaflet and told me that I can take as many photographs as I like ‘in a huge place’ that, according to the leaflet, turns out to be Newham Town Hall at the end of September. Maybe a huge civic-hall full of similarly dressed folk will present some spectacular photo opportunities, but I can’t but help have a hunch that anyone with anything resembling a real camera won’t get in.
Bottom-line here is that I would not have got to respond to the potential of this photo-opportunity had it not been for the speed and intaneity of digital-media. Not quite Weegee though.
Peter Fischli & David Weiss
The Sausage Photographs 1979 was Fischli / Weiss’s first collaborative project, and exemplifies their inventive and humorous use of everyday materials to create a compelling fictional world. Each photograph documents a dramatic scene composed using sausages, various cold meats and common household goods. Reminiscent of a children’s game, with its unbounded capacity for make-believe, the artists transform crumpled bedding into an Alpine landscape and slices of luncheon meat into patterned carpets.
[Tate Modern]
From Feast for the Eyes: The Story of Food in Photography (October 2019 - February 2020)
Exploring the rich history of food photography through some of the leading figures and movements within the genre including: Nobuyoshi Araki, Nan Goldin, Martin Parr, Man Ray, Cindy Sherman, Wolfgang Tillmans and Weegee.
Encompassing fine-art and vernacular photography, commercial and scientific images, photojournalism and fashion, the exhibition looks at the development of this form and the artistic, social and political contexts that have informed it.
Food has always been a much-photographed and consumed subject, offering a test ground for artistic experimentation and a way for artists to hone their skills. But even the most representative images of food have rarely been straightforward or objective. Food as subject matter is rich in symbolic meaning and across the history of art, has operated as a vessel for artists to explore a particular emotion, viewpoint or theme and express a range of aspirations and social constructs. With the advent of social media, interest in food photography has become widespread with the taking and sharing of images becoming an integral part of the dining experience itself, used as instant signifiers of status and exacerbating a sense of belonging and difference.
Feast for the Eyes looks particularly at how food is represented and used in photographic practices and brings together a broad-range of artists all of whom harness the history and popularity of food photography to express wider themes. Crossing public and private realms the works on show evoke deep-seated questions and anxieties about issues such as wealth, poverty, consumption, appetite, tradition, gender, race, desire, pleasure, revulsion and domesticity.
Presented over two floors, and featuring over 140 works, from black and white silver gelatin prints and early experiments with colour processes to contemporary works, the exhibition is arranged around three key themes: Still Life traces food photography’s relationship to one of the most popular genres in painting and features work that is both inspired by the tradition and how it has changed in the course of time. Around the Table looks at the rituals that takes place around the consumption of food and the cultural identities reflected through the food we eat and people we eat with. Finally, Playing with Food shows what happens when food photography is infused with humour, fun and irony. The exhibition will also feature a number of magazines and cookbooks which provide an additional visual and social history of food photography.
Feast for the Eyes traces the history and effect of food in photography, simultaneously exploring our appetite for such images while celebrating the richness and artistic potential of one of the most popular, compulsive and ubiquitous of photographic genres.
[Photographers' Gallery]
Kind Gallery person who told me about "Weegee the famous" and looked at some of my online work with nice comments
AIPAD Photography show, Park Avenue Armory, NYC, 2015
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
Peter Fischli & David Weiss
The Sausage Photographs 1979 was Fischli / Weiss’s first collaborative project, and exemplifies their inventive and humorous use of everyday materials to create a compelling fictional world. Each photograph documents a dramatic scene composed using sausages, various cold meats and common household goods. Reminiscent of a children’s game, with its unbounded capacity for make-believe, the artists transform crumpled bedding into an Alpine landscape and slices of luncheon meat into patterned carpets.
[Tate Modern]
From Feast for the Eyes: The Story of Food in Photography (October 2019 - February 2020)
Exploring the rich history of food photography through some of the leading figures and movements within the genre including: Nobuyoshi Araki, Nan Goldin, Martin Parr, Man Ray, Cindy Sherman, Wolfgang Tillmans and Weegee.
Encompassing fine-art and vernacular photography, commercial and scientific images, photojournalism and fashion, the exhibition looks at the development of this form and the artistic, social and political contexts that have informed it.
Food has always been a much-photographed and consumed subject, offering a test ground for artistic experimentation and a way for artists to hone their skills. But even the most representative images of food have rarely been straightforward or objective. Food as subject matter is rich in symbolic meaning and across the history of art, has operated as a vessel for artists to explore a particular emotion, viewpoint or theme and express a range of aspirations and social constructs. With the advent of social media, interest in food photography has become widespread with the taking and sharing of images becoming an integral part of the dining experience itself, used as instant signifiers of status and exacerbating a sense of belonging and difference.
Feast for the Eyes looks particularly at how food is represented and used in photographic practices and brings together a broad-range of artists all of whom harness the history and popularity of food photography to express wider themes. Crossing public and private realms the works on show evoke deep-seated questions and anxieties about issues such as wealth, poverty, consumption, appetite, tradition, gender, race, desire, pleasure, revulsion and domesticity.
Presented over two floors, and featuring over 140 works, from black and white silver gelatin prints and early experiments with colour processes to contemporary works, the exhibition is arranged around three key themes: Still Life traces food photography’s relationship to one of the most popular genres in painting and features work that is both inspired by the tradition and how it has changed in the course of time. Around the Table looks at the rituals that takes place around the consumption of food and the cultural identities reflected through the food we eat and people we eat with. Finally, Playing with Food shows what happens when food photography is infused with humour, fun and irony. The exhibition will also feature a number of magazines and cookbooks which provide an additional visual and social history of food photography.
Feast for the Eyes traces the history and effect of food in photography, simultaneously exploring our appetite for such images while celebrating the richness and artistic potential of one of the most popular, compulsive and ubiquitous of photographic genres.
[Photographers' Gallery]
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
The EMMA – Espoo Museum of Modern Art is a major art museum in Espoo in southern Finland. After the founding of Espoo Art Museum Foundation in September 2002, EMMA opened its doors for visitors in 2006. With its 5000 square metre exhibition space, it is the largest museum in the whole of Finland. The permanent exhibition presents a selection from The Saastamoinen Foundation Art Collection and the other half the changing domestic and international exhibitions.
It is housed in the WeeGee house, a building complex which contains five museums, a modern art gallery, a media-art centre, a café, a museum shop and an art school.The centre was named after the printing firm Weilin+Göös.
[Excerpted from Wikipedia]
F* USF and your poor planning when you have a free John Waters reading and book signing. F* your faculty that kept walking by with "one item per person." Note: one person holding two books with one person taking the photos. That would still be one item per person. Never less the continual, "have the book open." I understand you have fancy degrees, make too much money and live under a rock and wanted the people out but face it, if you have a Free John Waters event people are going to show up!
...and the bimbo holding the camera (taking photos???) for people didn't touch mine... (I did it my way, ha ha. Doubt she could operate anything more than a point and shoot. I was shocked when she shot two at once, bravo, bimbo) Shame most of the photo lab is shut down for the digital world. Besides who needs to know what f stops or shutter speeds are anymore, we can just photoshop it. I must thank the female usher in the main theater that got me a seat though. I would have hated to have been put in overflow seating with a live feed because of poor planning (letting the people in the back in first!).
Your Asian photo guy was a creep, he could have been out of one of Mr. Waters movies. I could see him on a pony (a pony boy, it was the boots I am sure) or photographing underneath bathroom stalls. Had he pointed that camera at me I would have slammed it on the floor. Anyways here is John Waters signing my "Art - A Sex Book" and me behind the camera. So once again F* you USF and thank you for the 2 two pink flamingos.
John Waters - said something about "old school Weegee style" Nice. Maybe it was the Polaroids extended bellows... perv.
Photographer Nelson Bakerman took along his assistants for the Weegee Walk in the Bowery District, 3/9/12, where they recreated some of Weegee's famous photos
The 'garden city' of Tapiola, about 20 min drive from Helsinki, is, if not the only, then at least the most famous Finnish application of Ebenezer Howard's garden city model in urban planning. It seeks to balance urban with natural favouring a loosely woven network of urban dwellings with plenty of natural features. This photo may not be the best possible representation of the how this was realised in Tapiola but there is pleny of material on the web, eg at weegee.espoo.fi/tapiola50/frontpage_en.asp?n=true