Photography (Photography)

“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them. I used to scratch out the emulsion where the pupil is, and draw another one right next to it.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Film & Video (Film & Video)

Killed is a video projection in which William E. Jones appropriated and edited, in a rapid sequence, a selection from the more than 68,000 censored or discarded films produced by the Farm Security Administration’s photographers between 1935 and 1943. Roy Emerson Stryker, the then director of the program, was in charge of what he called “killing” negatives by punching holes in them to render them unusable. Killed continues Jones’s use of discarded film footage seen in his video created from vintage 1970s and 1980s gay porn that was included in the 2008 Whitney Biennial.

Photography (Photography)

Hashem El Madani, a studio photographer in Saida, began working in 1948. Like all studio photographers his subjects came to him. The studio was a constant flux of visitors.

Photography (Photography)

Half Dome Hough Transform by Trevor Paglen merges traditional American landscape photography (sometimes referred as ‘frontier photography’ for sites located in the American West) with artificial intelligence and other technological advances such as computer vision. This photograph was taken at Half Dome, a frequently visited granite rock formation in Yosemite National Park, California. For this work, Paglen created a digital file of the 8 x 10 inch photographic negative so that the artificial intelligence program can apply computer vision to evaluate the content of the image.

Photography (Photography)

“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948. Like all studio photographers his subjects came to him.

Photography (Photography)

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls. They invented the poses, the gestures and situations.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“While taking the picture it was challenging to make the boys sit properly without moving. Sometimes a member of the family whould hide behind, holding the child.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls. They invented the poses, the gestures and situations.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls. They invented the poses, the gestures and situations.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal. Placing one’s hand on a stable surface helps position the shoulders and the general posture of the body.” Hashem El Madani. Hashem El Madani, a studio photographer in Saida, began working in 1948.

Photography (Photography)

“In the 1980s I started using coloured paper backdrops, one of which was yellow. You can see they never reached the floor. I used them for colour and black-and-white photography.” Hashem El Madani.

Photography (Photography)

His series, The Golden State, harkens back to his early career and his photographic training. Using a still camera to compose the fifty images of the series, Jones turns his lens on the vernacular architecture of California’s southern region, looking at the iconic and idiosyncratic spaces that define a region. William E. Jones is a filmmaker, writer, and artist whose interests lie in the circulation of images—images that are broadcast, images that are hidden, and images that become imbedded in our collective consciousness.

Photography (Photography)

Lambri’s careful framing in Untitled (Miller House, #02) redefines our understanding of this iconic mid-century modernist building located in Palm Springs, California. Commissioned by industrialist J. Irwin Miller and his wife Xenia Simons Miller, and built by Richard Neutra in 1937, the Miller house’s open and flowing layout expands upon modernist architectural traditions. It features a flat roof, stone and glass walls, with rooms configured beneath a grid pattern of skylights and supporting cruciform steel columns.

Photography (Photography)

Barbara Kasten’s Studio Construct 51 depicts an abstract still life: a greyscale photograph of clear translucent panes assembled into geometric forms, the hard lines of their edges converging and bisecting at various points. Light streams from unseen sources and projects rectangular shadows against an adjacent wall. Three-dimensional shapes become suddenly flat as the objects in Kasten’s still life are juxtaposed alongside their ghostly traces.

Photography (Photography)

Lieko Shiga’s photographs appear like dreamscapes. They gain much of their visual power from the unusual interplay between light and color, and the way in which her motifs often seem to defy physical laws such as gravity. She often photographs nocturnal landscapes that are both enchanted and haunted, invoking an emotionally and psychologically complex, contemporary inner landscape, as well as the ancient relations between mysticism, spirituality, and folklore, specifically invoking Japanese traditions and beliefs, while at the same time transforming them.

Photography (Photography)

Lieko Shiga’s photographs appear like dreamscapes. They gain much of their visual power from the unusual interplay between light and color, and the way in which her motifs often seem to defy physical laws such as gravity. She often photographs nocturnal landscapes that are both enchanted and haunted, invoking an emotionally and psychologically complex, contemporary inner landscape, as well as the ancient relations between mysticism, spirituality, and folklore, specifically invoking Japanese traditions and beliefs, while at the same time transforming them.

Photography (Photography)

“These are negatives that were scratched because of a jealous husband from the Baqari family, who never let his wife out by herself. He was upset to know that she came to be photographed in my studio without telling him. He came asking for the negatives.

Photography (Photography)

The half-length portrait of Joe Shirley presents a man with a great presence, wearing several items that point to ancestral Native American culture. In this photograph, which is relatively poor in information, the projection screen in the background acts as a clue about the event: Bruno Serralongue went to the second phase of the ‘Sommet Mondial sur la Société de l’Information’ (or SMSI, World Summit on Information Society, in Tunis in November 2005). This portrait echoes another picture in the same series (Native Peoples Claim Their Right to Participate in the Information Society) in which Joe Shirley is just a silhouette amongst the speakers, whereas here he occupies the entire frame.

Photography (Photography)

“Films inspired people a lot. they came to perform kissing in front of a camera. In a conservative society such as Saida, people were willing to play the kiss between two people of the same sex, but very rarely between a man and a woman.

Photography (Photography)

It is a little known fact that Lebanese historians were also gamblers during the war. They met every Sunday at the race courses. Race after race, the historians were positioned behind the press photographers who were there to take a picture of the winning horse passing the finishing line.

Photography (Photography)

The Black Canyon Deep Semantic Image Segments by Trevor Paglen merges traditional American landscape photography (sometimes referred as ‘frontier photography’ for sites located in the American West) with artificial intelligence and other technological advances such as computer vision. In order to take this photograph, Paglen traveled to the Black Canyon, south of the Hoover Dam. Only accessible by water, Paglen piloted a boat up the Colorado river into the canyon.

Photography (Photography)

Like many contemporary photographers who play with the codes of realism, Valérie Jouve composes her images, having already a more or less predetermined result in mind, in order to deliver a complex representation of the world instead of a bold presentation of facts. A part of the series “Les Figures”, this “portrait’ of P. Faure carries a strong ambiguity, typical of the photographer’s images, between realism and mise-en-scene . This photograph is exemplary of Valérie Jouve’s work: inscription of an inidual within an urban landscape, relation to architecture, simplicity of composition and strong, yet imprecise narrativity – related in part to seemingly familiar characters or places.

Drawing & Print (Drawing & Print)

Natasha Wheat’s Kerosene Triptych (2011) is composed of three images, one each from the digital files of the Library of Congress, the Smithsonian Institution, and the Field Museum tropical research archive. The original photographs were taken by anonymous photographers, not as art but as documents of the building of the Panama Canal. The laborers in the images are holding cans of kerosene and spraying it into the foliage.

Photography (Photography)

Seven family members and a cat all squeezed into the small five-room house, where Motoyuki Daifu grew up in Yokohama. This young photographer’s Family Project series documents the chaos of his family’s home life. Viewers of Daifu’s color photographs peer into the cramped, cluttered, and intimate world of their living quarters, what would normally be hidden from outsiders.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints (five of which are included in the Kadist Art Foundation’s collection), Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

Naoya Hatakeyama’s series Rikuzentakata (2011) documents the devastating aftermath of the 2011 Tohoku earthquake and tsunami in Japan. Throughout the series of sixty C-prints, Hatakeyama’s photographs depict scenes of torn landscapes and leveled homes, demolished villages and massive piles of detritus pummeled beyond recognition. The images serve as records of disaster, seemingly driven by an intense need to bear witness to collective trauma.

Photography (Photography)

This image is an extract from a notebook in the archives of doctor Fakhouri that lists the cars that have been used for bombs between 1975 and 1991. Each page of the notebook contains a collage of an image of a car with the same make, model and color as the exploded car with a text in Arabic that gives the details of the place, time and date of the explosion, the number of people in the accident, the perimeter of destruction, the weight and the type of explosive. The images of the cars made visible are only equivalents since the cars that actually exploded are totally destroyed.