American Voyage

Mario Carnicelli


American Voyage is a beautiful portrait of 1960s America from Italian photographer Mario Carnicelli (born 1937), recently rediscovered after 50 years, and previously unseen.

In 1966, Mario Carnicelli won first place in a national Italian photography competition sponsored by Popular Photography magazine, Mamiya and Pentax. The prize was a scholarship to photograph America. Carnicelli approached the country as an outsider, and yet his perspective managed to capture the essence of the American experience. He was fascinated by the freedom offered by America, with its mix of cultures and traditions, its fashion and individuality; at the same time he was aware of a pervading loneliness and rootlessness in people separated from family and clan. With an eye informed by French, American and Italian New Wave cinema, Carnicelli’s photographs are truly compelling, offering a view of the American dream that is both optimistic and contemplative. Curated by Bärbel Reinhard.

David Hill Gallery, London, the exhibition will be open until June 8th.

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Fortune Magazine Glorifies the Corporate Photographer

Margaret Bourke-White


Walker Evans

Before the rise of the Empire State building in 1933, the New York Stock Exchange had been creating millionaires for over ten years, until its crash in October of 1929. In that same year, just months before the crash, which led to the Great Depression, Henry Luce, founder and owner of Time Magazine and later Life magazine and Sports Illustrated, decided to create a magazine dedicated to the dynamic and exciting world of industry. He wanted to call it Power, but then decided on the world Fortune. Fortune’s first Photo Editor, Thomas Maitland Cleland, wanted photography to be the driving visual force of the magazine, so he went about hiring the very best photographers he could find. Principal among them was Margaret Bourke-White, hired as Fortune’s first staff photographer. A strong headed personality with great technical capabilities made her the first and foremost industrial photographer. Her images brought the masses into the factory or on location, in the midst of industrial processes. She made spectacular images to catch the eye and the fantasy of the growing entrepreneurial strength of the United States. You could say, she was the eye of American Capitalism in its making. But she wasn’t the only photographer to be enthused by industry and its products. Few know that from 1945 until 1965, Walker Evans himself was Picture Editor of Fortune magazine. Always a brilliant reader of the American landscape, his critical eye and formal approach lead the vision of the magazine for twenty very important years. Years in which the importance of a Corporate Identity was to become the standard for the representation of all industries and the Corporate Photographer was to become a mainstay in any corporate project.

Edward Rozzo

Per leggere altri articoli dell’autore cliccate qui!


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The Birth of Industrial Photography

Lewis Hine – Icarus, Empire State Building

From manufacturing to social awareness to industrial power.

The relationship between the photograph and industry has been continuous since photography’s beginnings. Whether to brag about the amazing things done and built or simply to show people how things were made, photography was the obvious media for both its mobility as well as its informative power. The industrialization of society was overwhelming both for the creation of new products, therefore new markets, as well as the engagement of millions of farmers and craftsmen flooding urban centers in search of a better life. The dream of a better life was an illusion for most and the conflict between owners and workers became one of the major conflicts of western society. The photographers themselves soon understood that they were photographing amazing changes in society through the industrial process and some, like Lewis Hine, realized that those changes were not always beneficial to the workers. His photography revealed the atrocious use of children, often malnourished, dressed in rags and without shoes, in various industries. And these same photographs forced the American congress to change the laws governing child labour. But Hine was also in marvel of the beneficial changes that industry made on society as can be seen by his documentation for the construction of the Empire State Building. The daring size and height of the building gave people hope that their lives and fortunes would grow as well. Photography was witness to it all.

Lewis Hine


Edward Rozzo

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Lunch atop a skyscraper

29 Sep 1932 – Construction workers eat their lunches atop a steel beam 800 feet above ground, at the building site of the RCA Building in Rockefeller Center.  ©Bettmann/CORBIS 


Un elegante documentario su una delle fotografie industriali più famose al mondo. Molti, attribuiscono l’immagine a Lewis Hine, ma lui non era presente il giorno che è stata scattata, mentre veniva costruito il famoso Rockefeller Center in New York City. Lewis Hine, d’altro canto, aveva documentato la costruzione, qualche anno prima, dell’Empire State Building, da poco terminato il giorno che questa foto fu scattata. Guardate qui per sapere chi ha veramente scattata questa foto.

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Fink on Warhol


Larry Fink

Fink on Warhol: New York Photographs of the 1960s, allo Spazio Damiani a Bologna, mostra del fotografo americano Larry Fink. Fino al 30 aprile saranno esposte in mostra 15 opere fotografiche in bianco e nero che costruiscono un dialogo tra il fervore sociale e politico della New York degli anni ’60 e la figura artistica e nichilista di Andy Warhol e dei personaggi della Factory. Le fotografie, che ritraggono Andy Warhol ed alcuni dei più celebri esponenti della Factory, tra cui Lou Reed e i Velvet Underground, Ingrid Superstar, Susanna Campbell e Gerard Malanga, sono state scattate nell’arco di tre giorni della primavera del 1966, quando Larry Fink fu incaricato di realizzare un servizio per l’East Side Review. Coprono invece un arco temporale più esteso, dal 1964 al 1968, gli scatti che documentano un’America percorsa dalle tensioni politiche e sociali legate alle lotte per i diritti civili e al movimento di protesta antimilitarista. Le immagini in mostra, così come l’intero corpus fotografico da cui provengono, tornano ora per la prima volta alla luce.

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Berenice Abbott. Topografie

Berenice Abbott

Berenice Abbott

In arrivo al Museo MAN di Nuoro, dal 17 febbraio al 21 maggio 2017, Berenice Abbott. Topografie, la prima mostra antologica in Italia di questa grande protagonista della storia della fotografia del Novecento. La mostra, a cura di Anne Morin, presenta una selezione di ottantadue stampe originali realizzate tra la metà degli anni Venti e i primi anni Sessanta. Il percorso espositivo sarà suddiviso in tre macrosezioni – Ritratti, New York e Fotografie scientifiche – restituendo il grande talento di Berenice Abbott e fornendo un quadro completo della sua variegata ed intensa attività di fotografa.

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Aperture Portfolio Prize


DEADLINE EXTENDED! Last chance to submit to Aperture Portfolio Prize 2017!
The first-prize winner will be published in Aperture magazine and will receive a $3,000 cash prize along with an exhibition at Aperture Gallery and Bookstore in New York. The sole entry requirement is to be an Aperture magazine print subscriber. Subscribe now and have the chance to be published in the leading magazine of photography and ideas. Submit here! We’ll be accepting submissions until Wednesday, February 1, 2017, 12:00 noon EST.

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Nan Goldin: The Ballad of Sexual Dependency al MoMA

Nan Goldin

Nan Goldin – Nan and Dickie in the York Motel, New Jersey. 1980.


«The diary is my form of control over my life. It allows me to obsessively record every detail. It enables me to remember.»
Nan Goldin

Per il suo trentesimo anniversario “The Ballad of Sexual Dependency” di Nan Goldin sbarca al MoMA di New York in una mostra a cura di Klaus Biesenbach, Rajendra Roy e Lucy Gallun. Il lavoro è presentato nel suo formato originale di 35mm, insieme a fotografie che arrivano dalla collezione del Museo e una selezione di materiali provenienti dall’archivio di Nan Goldin stessa, tra posters e flyers che annunciano le prime tappe di The Ballad, mentre performance live accompagnano periodicamente la mostra.

Fino al 12 febbraio 2017
MoMA (secondo piano)
11 West 53 Street
New York

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