"Great Journeys" Magnum Photos Square Print Sale with Aperture Foundation

October 30, 8 A.M. EST to November 3, 6 P.M. EST only
Signed or estate-stamped, 6x6" museum quality prints for $100

Band member at parade. Bangalore, India. 2016 © Alec Soth / Magnum Photos

I recently went to India to study ‘laughter yoga’ in hopes of learning how to make happy pictures. But my best photograph still ended up looking a little sad.” - Alec Soth

On the occasion of Magnum’s 70th anniversary and Aperture Foundation’s 65th, the two storied organizations have joined forces to present Great Journeys, inspired by Magnum co-founder, the photographer George Rodger.

Rodger’s response to the experience of World War II, and in particular his revulsion to photographing scenes of the Holocaust, led him to re-evaluate his purpose as a photographer. After the war, Rodger chose to travel in search of pictures that offered visions of hope for humanity.

Cheshire, Ohio II. 2004 © Mitch Epstein courtesy Aperture

I went to Cheshire, Ohio, in 2003 to make pictures of a town that had been bought out by American Electric Power. The townspeople had been complaining of toxic contamination from the local coal-fired power plant, and had agreed, for a price, to keep silent and never sue AEP. It was when I returned home to New York, and couldn’t get Cheshire and its residents out of my mind, that I began the series ‘American Power,’ in an effort to understand how energy functions: who makes it; who and what gets hurt by it; who profits from it; and what might be its, and therefore the nation’s, future.” - Mitch Epstein

Magnum Photos and Aperture have a long and diverse shared history, and together have invited photographers - either members of Magnum or published by Aperture, and often, both - to respond to the theme Great Journeys with an image from their archive, as well as accompanying text.

Scotty’s Drive in. Florida. 1967 © Joel Meyerowitz courtesy Aperture

Here’s Scotty’s Sometimes when you’re traveling in the car all day, on the lookout for life on the fly, a great thirst comes over you and that desire for the next event evaporates immediately upon seeing an old-fashioned diner, I mean the real thing, not some dolled-up imitation serving prepackaged crap, but a place where some degree of reverence for the past lets you know that a milkshake from childhood can be found there. And here’s Scotty’s. Mmmmmm”

Both individually and collectively, their responses highlight the major visual and thematic threads that have preoccupied the past seven decades of photographic production, shedding light on Rodger’s legacy, and redefining the concept of journey in photographic terms.

These photographs are a selection from this project and is temporarily available for purchase as a signed, museum quality Magnum Square Print, exceptionally priced at just $100.

Liberation Day Tea at the Forest United Methodist Church. Guernsey. 2012 © Martin Parr / Magnum Photos

The Channel Islands were the only part of Britain that were taken over by the Nazis during the Second World War. They were liberated on May 9, 1945: This day is now called Liberation Day and continues to be celebrated on all of the islands every year. I had wanted to shoot the events around May 9 in the Channel Islands for many years and did so in 2012, travelling to the Islands to make pictures of the 68th anniversary celebrations of the liberation. This is an image from a 'Liberation Tea' at a small Methodist church on Guernsey, a day when Union Jacks are ubiquitous.” - Martin Parr

The edition is not limited by quantity, but limited by time. This Square Print is only available for purchase between October 30, 2017, at 8 A.M. EST and November 3, 2017, at 6 P.M. EST.

All signed Magnum Square Prints are signed on either the front or back, depending on the photographer's preference. Estate-stamped prints are stamped on the back. Each photographer's accompanying text is printed on an archival label that is affixed to the back of the print.


EXHIBITION // Hull Portrait of a City, British teens by Martin Parr and Olivia Arthur

If your lucky enough to be in Britain this October, check this one out.......

Image: Ross and Ryan © Olivia Arthur / Magnum Photos

Image: Ross and Ryan © Olivia Arthur / Magnum Photos

Hull UK City of Culture have partnered with international photography co-operative Magnum photos to create this bespoke exhibition, commissioning Martin Parr and Olivia Arthur to explore the culture and creativity of Hull. The exhibition highlights the qualities that have made the city stand apart in an unforgettable year of culture.

Hull, Portrait of a City owns the discussion about where, what and how. How might we define Hull? How has culture changed our landscape and regenerated our city? What impact has it had on everything from economy to civic pride? How do we record it? As stories merge and new ones begin, we start looking to the future and exploring what’s next.

Magnum Photos is a photographic cooperative of great diversity and distinction owned by its photographer-members. Magnum photographers chronicle the world and interpret its peoples, events, issues and personalities. Through its four editorial offices in New York, London, Paris and Tokyo, Magnum Photos provides photographs to the press, publishers, advertising, television, galleries and museums across the world.

13 Oct - 31 Dec | 10am - 6pm



Source (http://www.dazeddigital.com)(http://www.humberstreetgallery.co.uk


"I was making pictures, with people that allowed me to photograph them," says Wood. "I was just going out and making pictures every day on loads of things all at once and never finished anything. Lots of the projects I didn't want to finish or to put in to the world at that time." Tom Wood*

TOM WOOD is definatley one of my secret favs when it comes to capturing the urban environment. I decided to purchace Tom Wood's MEN | WOMEN [hardback] set (Publisher Steidl) from Amazon as it was the cheapest price I had seen. The two books are bound in a glossy slip case (image above) and the pages, all 344 of them, have a lovely luster with a desirable flat to the touch feel . Beautifuly printed the images are spectacular, typical of the finly detailed Photo Books being produced by many fine publishers at present. 

I lived next door to Tom for a couple of years in the very late 1970s. I am therefore lucky enough to have some small inkling into Tom's love of the people and places of Merseyside as well as having had the opportunity to observe some small part of his projects at that time. Having completely lost touch, it was an exciting moment when I saw some online reviews of his exhibition last year at the Photographer's Gallery which included some images that were unmistakably Tom Wood's.

So what is so special? When photographing individuals or groups Tom manages to capture an extraordinary intimacy. It is almost as if he is accepted by his subjects as part of the moment but (and this is an important but) his "presence" has a minimal impact. You see people as they are in their place and at a moment in time. The sense of intimacy follows you through the books - every time you turn a page you get the feeling you are just about to see someone you know well. You always feel that each photograph tells a much longer story that the limits of the scene would ordinarily encompass.

Everyone I show the books to has their own list of favourite images. My own are a mix of nostalgia (not just for the place but the time) and sheer gob smacking beauty found in a face or pose that Tom has managed to lever out of what many would have often considered the most unlikely sources. There is magic here and astonishing art.

Michael Pe Griffiths

Book One MEN

About Tom

Before moving to North Wales in 2003, Tom Wood had been photographing the people of his Liverpool neighbourhood for almost three decades. In these two volumes, Wood displays carefully edited photographs taken from his archives filled with artistic chronicles of the lives of men and women. Even though the pictures are not presented in a chronological order, Men and Women ends up being a book saturated with history, showing Liverpool in transition from its industrial past. Never seen without his camera, and constantly moving between different formats and photographic styles, colour and black and white, the Photie Man (as Wood became known locally and as his last book with Steidl was titled) readily mixes images of strangers with portraits of family and friends. Tom Wood was born in 1951 in County Mayo in the west of Ireland. He lived and worked on Merseyside between 1978 and 2003 before he moved to his current home in North Wales. Wood has published numerous books, including Bus Odyssey, People, All Zones Off Peak and Looking for Love. He has had solo and group exhibitions worldwide and his work is part of the collections of major museums. Tom Wood: Men and Women, his first major UK retrospective, is currently being shown at The Photographers Gallery, London (12 October 2012 to 6 January 2013) and then will tour to the National Media Museum, Bradford (22 March to 1 September 2013).*

Book Two WOMEN

Both volumes form a complexing assortment of balanced intention. Sean Sheehan puts it beautifully

"What characterizes Wood’s work is a consistency of tone and feeling. His perspective defines a way of photographing working-class people that has little in common with the output of someone like Martin Parr. Wood remarked in a Guardian interview, "You can photograph the same face 50 times and 49 are not interesting, but one is and it goes to another place". **

Very glad to have these Volumes in my collection, and as one socialist said to another, go forth and purchase

**Source (https://www.lensculture.com) *(http://www.bbc.com/)

Book Review // Last Resort by Martin Parr

by Jesse Freeman from the pages of Japan Camera Hunter

Ironically Martin Parr’s The Last Resort was the first resort for me several years ago when I told myself I’d cut back on literature in favor of purchasing at least one photo book a month. With my limited knowledge of photography at the time I always remembered Martin Parr because his photography was just so original and decided to get this one.
It was color, it was day time flash, it was ugly, it was intelligent, it was satiric, it was medium format, and more importantly everyone who I got into photography with at the time hated him (so I knew he was doing something right lol). In addition, as a film person the everyday of suburbia enhanced with saturated colors felt like David Lynch. This book in ways changed photography for Europeans who were still in the mode of sober black and white photos as it was really only the American photographers in the 70s who were really doing color, and Parr took it
somewhere else.


Source (http://www.japancamerahunter.com)