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Sophia Wallace on German Television, ARTE produced by Tim Lienhard for ARD. Watch the television program here. See the German version on ARTE here: http://bit.ly/tEVTwA
I’m speaking on a panel at Photo Plus Expo tomorrow. The talk is at 1:30pm at the Javitz Center in New York City.
The panel addresses how online publishing affects photography as an industry. I will be speaking about the ways in which the online space presents vital potential for discourses and subjects who are historically and and currently censored in print. I’ll also be sharing tactical tips for getting your work published online.
Details:
Fri, Oct 28, 2011 - 1:30 PM to 3:30 PMThe New World of Online Magazines + Curator Websites
Speakers:
Julie Grahame, Founder, aCurator.com
Manjari Sharma
Michael Itkoff
Stella Kramer, Moderator
Sophia Wallace
Tumultuous photography industry changes over the past five years, both in publishing and advertising, have reduced many avenues for emerging and even mid-career photographers to gain entry into the business. But as some doors close, others open, specifically with new online, curated Web sites and online photography magazines. These generally open-submission platforms are creating new avenues for photographers to show their work, and to place their images in front of photo editors, art buyers, gallerists, museum curators and others with an interest in photography. Free from the constraints of advertising demands, these online destinations offer photographers a way for their work to be seen as they like, and the chance to be seen by people all over the world. In this seminar you’ll hear from some of the biggest names in this new photography world, including Michael Itkoff, editor and chief of Daylight magazine and others from the world of photography and design. Moderator Stella Kramer, a Pulitzer prize-winning photo editor brings these new stars of the online world together to tell you the essentials of how they choose the photography they feature, what the submission guidelines are, and what increases your chances of being selected. They will also discuss other online sites, and the future of photography through the increasing prominence of these online magazines and curated forums.
Part of my history and so many fierce young women I grew up with. The Riot Grrrl Movement covered in new book by Sara Marcus.
The burden falls on the minority to explain itself to the majority.
I am disillusioned by the relationship between the means of production required to produce images, the privileged position of arbiters who determine which images might be seen and moreover elevated– so often those images prized by the establishment reify their position of power in the world and interest in seeing flattering depictions of themselves.
I am fatigued by the ratio of art that features nude women photographed by men. I’m disgusted that terrorism is understood in wars fought abroad but not behind closed doors on the bodies of women, children and incarcerated men. Both are horrific and unrelenting.
I’m frustrated that a heterosexual narrative is universal and a queer story is specific. I’m disgusted that white is normal and black is racialized, that men and women are treated as opposites utterly fixed in their polarities.
These are lies.
The burden remains on the minority to explain itself to the majority. I am resigned to this inescapable fact.
“Gaga wants us to understand her self-presentation as a kind of deconstruction of femininity, not to mention celebrity. As she told Ann Powers, “Me embodying the position that I’m analyzing is the very thing that makes it so powerful.” Of course, the more successful the embodiment, the less obvious the analytic part is. And since Gaga herself literally embodies the norms that she claims to be putting pressure on (she’s pretty, she’s thin, she’s well-proportioned), the message, even when it comes through, is not exactly stable. It’s easy to construe Gaga as suggesting that frank self-objectification is a form of real power.
Artists protesting the Whitney Annual 1969.
I found an interesting albeit simplistic timeline showing key events that launched the Feminist art movement’. In 1969, the Whitney Annual (now a biennial) included 8 women out of 143 artists. How much as changed? I’ve heard the quote that 1 out of every 10 solo exhibitions in Chelsea is by a female artist.
Sounds about the same as 40 years ago.
As the Guerrilla Girls famously asked in 1989, “Do women have to be naked to get into the Met. Museum?”. At that time, the Guerilla Girls observed that ‘less than 5% of the artists in the Modern Art sections are women, but 85% of the nudes are female’. Based on their updated poster for 2005 and the stats from 2008, I am remiss to conclude that not much has changed. Nicholas Forrest writes on the subject in in more depth in his piece on sexism in the art world and links to the Top 30 Offenders of 2008, let’s make one for 2010.
