SHOOT ME Magazine ISSUE #19_SEP_014 by SHOOT ME Magazine

cover by MalktiMe PhotograPhy

Shoot me /Ę&#x192;uË?t

mi/

1. hit me with a bullet 2. take my picture 3. throw me out of a canon, hit me with your arrows and help me discover a new side of me (an artistic side)

4. kill my old self, revive me.

Art revolving /ɑːt

rɪˈvɒlvɪŋ/

1. swirling art 2. the ever-rotating art. rotating around itself, around me, across the universe.

3. the art that never seizes. <<<<<<

2014, atheNS / greeCe info@shootmemag.com publisher_artdirector

iSaVella MaVroyiaNNi creative@shootmemag.com publisher_webadmin

JaD McMeola web@shootmemag.com contentcoordinator

geraSiMoS PagoNiS coord@shootmemag.com c u l t u r a l e d i t o r

kateriNa XiDaki culturaled@shootmemag.com c

iro JagUar copyed@shootmemag.com

www.shootmemag.com coNTAcT info@shootmemag.com SUbMISSIoNS submissions@shootmemag.com

|||||ÂŠ Shoot Me Magazine | 2013-14 | coNTeNT oF THIS ISSUe IS coPyrIGHTeD by THe FeATUreD ArTISTS AND cANN ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||

#19 SeP_014 cover by

MalktiMe PhotograPhy “MarilyN” featured artists

Maria tSiligiri roBert MaCNeil FaBio MoSCatelli MalktiMe PhotograPhy

oT be USeD WITHoUT THeIr WrITTeN PerMISSIoN |||||||||||||||||||||||||||||||||||||

106

142

182

0 0 1 0

1 6 6 2 0 M A r I A / T S I L I G I 0 1 0 6 6 1 r o b e r T / M A c N e 4 2 4 F A b I o / M o S c A T e L 2 1 8 2 5 M A L K T I M e P H o T o G r A P

+ 5 0 5 0

1 5 7 8

0 2 2 8 3 0 5

5 2 4 4

4 P

r I L H

v e r A / M e r c e r o S T / A S T o r y T o T e L 4 1 3 2 M I N o r / W H I T 4 8 1 3 G r e G / G o r M A

I L I y

S L e N

’

“ K b r f o w i

e e p u p y o u r i g h t s w o r d s , r t h e d e w l l r u s t t h e m . ”

―

W i l l i a m

S h a k e s p e a r e enjoy our #19th

verA Mercer A personal bond between the portra 10

/ PArTIcULAr PorTrAITS rayed subject and the photographer

bar Kosmetiksalon babette in berlin presents, on September 15, shortly before the start of berlin Art Week and abc, the new book of German-born photographer vera Mercer, under the title ‘Particular Portraits’. The book, published by DISTANZ verlag of berlin and edited by Matthias Harder, presents fascinating portraits of artists and other contemporaries taken by Mercer over the last 50 years, a life-time work that has made her one of the most important documentarians of the international avant-garde art. Since 1960, vera Mercer has photographed those whose intrinsic and extrinsic values have fascinated her equally. In the cafés of Paris, she observed other guests and their behavior like a sociologist. Incidental or deliberate, Mercer’s camera shots are always emphatic. Her ‘subjects’ in her artistic portraits are totally exposed and in various theatrical situations. Andy Warhol holds out a microphone to an interview partner at his Factory in New york, while Daniel Spoerri strenuously supports one of his ‘trap pictures’ against a wall in the courtyard of his Parisian apartment. In another photo, Marcel Duchamp puffs on a cigar with relish, against the backdrop of his iconic works at his studio.

Vera Mercer Marcel Duchamp Paris 1960 ÂŠ Vera Mercer courtesy: Werkhallen Obermann Burkhard, Remagen-Oberwinter Galerie Jordanow, MĂźnchen Johanna Breede, Photokunst, Berlin Sherry Leedy Contemporary Art, Kansas City

Vera Mercer Eva Aeppli and Niki de Saint Phalle, Paris 1960 ÂŠ Vera Mercer courtesy: Werkhallen Obermann Burkhard, Remagen-Oberwinter Galerie Jordanow, MĂźnchen Johanna Breede, Photokunst, Berlin Sherry Leedy Contemporary Art, Kansas City

vera Mercer was born in berlin in 1936. Her father, Franz Mertz, was a well-known theater set designer and her most important influence. She first studied dance and she married the assistant of the theatre director, a young romanian Swiss artist, named Daniel Spoerri, who gave her a camera in 1960. Together they went to Paris and re-discovered themselves as autodidacts in the artist movement ‘Nouveaux realistes’. It was then that Jean Tinguely asked her to take pictures of his sculptures. These would be the first of many photographs that were more than representational images: they were based on friendship, revealing the personal link between the portrayed subject and the photographer. They symbolize time spent together in a lifetime. even after her separation from Spoerri, Mercer remained active as a photographer in Paris and elsewhere, mostly under her maiden name vera Mertz. on commission by Theater Heute and various Scandinavian magazines, she did photo reportages on Samuel beckett, eugene Ionesco, Norman Mailer, Satyajit ray, Andy Warhol, Marcel Duchamp and others. Later she worked for a short time as assistant of Peter Knapp, a photographer for ‘elle’ and ‘vogue’ in Paris. over the years she has made documentary photos for many artists, including eva Aeppli, Jean Tinguely and Niki de Saint Phalle.

Later, she worked for John Morford, an architect and interior designer living in Hong Kong, who designed many restaurants in Asia. She also began exhibiting her photographs in galleries during that time, with many solo and group exhibitions in different places. In her later color portraits, mostly taken in omaha, Nebraska, we can discover a more intensive confrontation with models. They pose in vera Mercerâ&#x20AC;&#x2122;s expansive loft apartment, accompanied by nothing but wooden stools, or arranged in the midst of still lifes. Her subjects are her friends, from artists and curators, to film distributors and directors. Despite their everyday garb, they slip into new roles, with the occasional unbuttoned shirt or completely unclothed. These are experimental and autonomous portraits of great individuality.

Vera Mercer Daniel Spoerri Wien 2013 ÂŠ Vera Mercer courtesy: Werkhallen Obermann Burkhard, Remagen-Oberwinter Galerie Jordanow, MĂźnchen Johanna Breede, Photokunst, Berlin Sherry Leedy Contemporary Art, Kansas City

Vera Mercer Andy Warhol Factory, New York 1968 ÂŠ Vera Mercer courtesy: Werkhallen Obermann Burkhard, Remagen-Oberwinter Galerie Jordanow, MĂźnchen Johanna Breede, Photokunst, Berlin Sherry Leedy Contemporary Art, Kansas City

over the course of time, Mercer’s workflow has also changed: once analogue, she now shoots and post-produces using digital techniques. Like a latter-day surrealist, vera Mercer combines the unexpected. She has also begun to add humans to her still lifes, which otherwise include vegetables, fruits, flowers in all states of decay, burning or quenched candles, and dead animals as symbols of vanity. Today vera Mercer lives between Paris and omaha, Nebraska. Her works can be found in numerous public and private collections.

Vera MerCer PartiCUlar PortraitS

Book presentation Monday, 15 September 2014, 6:30 p.m. vera Mercer will be present location bar Kosmetiksalon babette, Karl-Marx-Allee 36, 10178 berlin on the book: vera Mercer – Particular Portraits, edited by Matthias Harder, published by DISTANZ verlag, German/english, 30 x 24 cm, 152 pages, ca. 65 color and b/w photographs, hardcover, ISbN 978-3-95476-067-1, price: € 39.90 (D) / £ 37.50 / $ 60.00

Vera Mercer Meret Oppenheim Paris 1960 ÂŠ Vera Mercer courtesy: Werkhallen Obermann Burkhard, Remagen-Oberwinter Galerie Jordanow, MĂźnchen Johanna Breede, Photokunst, Berlin Sherry Leedy Contemporary Art, Kansas City

Miron Zownir NYC, 1981 Silver Gelatin Archival Print ÂŠ Miron Zownir courtesy: Hardhitta Gallery

PoST& A STory To TeLL

A new art season in berlin The former post office at Luckenwalder Strasse 4-6, berlin adjacent to the grounds of the abc art fair- will present on September 16 - coinciding with the kick-off of the new art season - the exhibitions PoST and A Story to Tell, that they will last until September 28.

Gregory Bojorquez Friday Night Party, 1997 Silver Gelatin Archival Print ÂŠ Gregory Bojorquez courtesy: Hardhitta Gallery

PoSt The group exhibition PoST berlin presents works of Maria Zerres, Herbert brandl, Georg Dokoupil, Franz Graf, Tom Grundmann, Katrin PlavÄ?ak, Theo Altenberg and Tim berresheim, assigned to an extended definition of painting, avoiding reference to a specific zeitgeist. The work of these artists is a profound discourse that goes beyond the classical pictorial tradition, re-

gardless of the primary art market criteria. every artist has developed his own style, in conceptual, experimental, figurative, or abstract way, presenting paintings that surprise us with their unusual pictorial effects. Maria Zerres was born in Linden, Germany in 1961. Her early works often depict isolated figures in turbulent and repeatedly over painted color

spaces, while her recent work emphasizes narrative elements with a continuous focus on the human being. curved lines form the silhouette, while the mouths, eyes, and hands are executed in a deliberately reduced and sparse manner. Fragmented backdrops in geometric shapes render a radiant dynamic to her works. herbert Brandl was born in Graz, Austria in 1959. His paint-

ings range from figuration to abstraction, from pure color and shapes to figurative content, such as the series of mountainscapes that he created based on drafts of the Himalayas and the Dolomites from the 2000s. With the paintings becoming larger in format, brandl is progressively concentrating on the process of painting and the effect of shape and color in itself. His manner of painting is a self-re-

flexive one, as indicated by iridescent color surfaces, visible brush strokes, and continuous re-painting. georg Dokoupil was born in Krnov, czech republic in 1954. He was a founding member of the cologne-based artist group ‘Mühlheimer Freiheit’. His subsequent work eludes any classification, as a continuous experimentation with various key ‘production methods’. Di-

verse experimental techniques such as traces of soot from burning candles, painted car tires, or colored soap bubbles became part of his paintings. Dokoupil’s ‘soap bubble paintings’ were first created in the early 1990s and they are now shown in an advanced version of abstract large-format paintings. Their monochrome backgrounds are covered by imprints of bursted colored and inked soap bubbles.

Franz graf was born in Tulln, Austria in 1954. He experiments with language—with regard to both text and image. His work includes abstract drawings and found text passages as well as images of single letters or words and is characterized by the overlap of different media and materials. Scripture, ornaments, and the aesthetics of tattoos are his source materials, while the imagery of the internet serves as his inspiration. Graf makes drawings of greatly enlarged male and female faces—first

using graphite and then filling in large areas with ink. He plays continuously with twoand three-dimensionality, which is often adjusted to the particularities of the exhibition space. tom grundmann was born in cologne, Germany in 1970. He derives his subjects - such as iconographic images of historical figures from society, politics and art, cartoon characters, religious symbols, and symbols of subculture - from various image archives. He then converts these

images into large-format watercolors by associatively combining them with dense textual and graphic patterns. Additionally, he ironically comments on or satirizes the portrayed characters by inserting speech bubbles, letterings, and symbols. katrin Plavčak’s was born in Gütersloh, Germany in 1970. Her surreal paintings oscillate between dealing with political and social issues, the perception of our consumer-capitalism, and psychological and utopian contents. With her painting ‘The

Joseph Rodriguez Lookout on East 117th Street Spanish Harlem, 1987 © Joseph Rodriguez courtesy Hardhitta Gallery

Tv-Hand’, Plavčak´s comments on the NSA surveillance program MySTIc (a spyware for mobile phones) and on people’s willingness to become one with their media devices and thus constantly connected. Plavčak’s work is a result of precise observation of everyday and social phenomena. Her works in this exhibition are conceived to be shown in combination with objects. theo altenberg was born in Mönchengladbach, Germany in 1952. While performance, lan-

guage, photography and dance initially had a high priority in his artistic creation, he turned to painting at the end of the 1980s. His paintings are created without using ‘tools’- they are essentially the result of mass, fluidity, and gravity. The experimentally produced templates (oil on preprinted cardboard) are digitally processed to finally become large-scale pigment prints that make visible the complex on-goings of color, space, and illusion. tim Berresheim was born in Heinsberg, Germany in 1975. His

works juggle perspective, technical possibilities of image production, and mechanisms of reception. They challenge us to rely completely on their ambiance and on the purely visual. berresheim confronts us with an aesthetic that will not be decoded as a system of symbols, but instead aims to create an atmosphere. He experiments with color and shape, and with arrangements of pictorial elements and their relationship in space. Using computers and the latest technology, berresheim produces

scenarios of images and “forms” that take place in a three-dimensional, illusionistic space.

Joseph Rodriguez Jason and Anthony looking into Rodriguez home Spanish Harlem, NY 1987 ÂŠ Joseph Rodriguez courtesy Hardhitta Gallery

Miron Zownir Berlin-Kreuzberg, 1980 Silver Gelatin Archival Print © Miron Zownir courtesy: Hardhitta Gallery

a Story to tell on the same day, in an additional space, Hardhitta Gallerywill presents ‘A Story To Tell’, with photographs by Gregory bojorquez, Joseph rodriguez, and Miron Zownir. In a direct manner and in close proximity to people, with the camera lens always focused relentlessly on the situations, the works of these artists depict everyday life in different cities, from the west coast of california to New

york and berlin, since the 1970s until today. gregory Bojorquez grew up in east Los Angeles and initially photographed his friends and the people in his neighborhood. After gaining the trust of the notorious street gangs, he became the documentarian of this world. In 2011 he happened to witness a killing spree on Sunset boulevard, which he cap-

tured with his analogue camera. bojorquez grants viewers deep insight into the lives of people at the margins of society. Since LA Weekly became aware of his work, he also photographs public figures in an authentic and close manner. Joseph rodriguez is an awardwinning New york documentary photographer, who was honored with his first retrospec-

tive in Germany last year at Hardhitta Gallery. His work is also characterized through his intimate and authentic view of minorities within society. This exhibition shows works from his first major project, ‘Spanish Harlem’, which was developed in the years between 1985 and 1989 and in 1991 for the cover story of National Geographic. rodriguez’s award-winning work is regularly published in prestigious magazines such as The

New york Times, Der Spiegel, Stern, and National Geographic. recently, his works were part of the exhibition ‘our America: The Latino Presence in American Art’ at the Smithsonian American Art Museum in Washington. Miron Zownir, the ‘poet of radical photography’, has chronicled, for more than 30 years, the dark side of human existence. In his works, which were created in

the late 1970s in berlin and New york, he focuses on misfits, outlaws, and outsiders of society. Whether it was the sex piers in New york’s West village or bahnhof Zoo in berlinat the time of christiane F.—Zownir’s images reflect the zeitgeist of those times. His socially critical work has been featured in numerous exhibitions, such as ‘Darkside Iand Darkside II’ at Fotomuseum Winterthur in Switzerland, together with works by Nobuyoshi

Araki, Nan Goldin, robert Mapplethorpe, Weegee, and Larry clark.

PoSt + a Story to tell

opening reception: September 16, 6 p.m. – 10 p.m. open: Tuesday - Saturday, noon – 7 p.m.

MINor WHITe MANIFeSTATIoNS oF THe SPIrIT Photography,

a medium of spiritual transformation

“When I looked at things for what they are I was fool enough to persist in my folly and found that each photograph was a mirror of my Self ” - Minor White

Minor White American, 1908–1976 Tom Murphy, San Francisco, 1948 Gelatin silver print Image: 12.5 x 10 cm (4 15/16 x 3 15/16 in.) The Minor White Archive, Princeton University Art Museum, bequest of Minor White © Trustees of Princeton University

The J. Paul Getty Museum at the Getty center in Los Angeles presents, until october 19, the first major retrospective exhibition since 1989 of the famous American photographer, teacher, editor, curator, and critic, Minor White, titled ‘Minor White: Manifestations of the Spirit’. Minor White is considered one of America's greatest photographers and one of the masters of photographic modernism, as his pictures teem with symbolic and metaphorical allusions. Throughout his career, he sought to photograph things not only for what they are but also for what they may suggest. White combined an intense interest in how people viewed and understood photographs with a personal vision that was guided by a variety of spiritual and intellectual philosophies. This search for spiritual transcendence continually influenced his artistic philosophy. coming of age when homosexuality was socially unacceptable, he sought comfort in a variety of Western and eastern religious practices. Photography became both a way to make visible his ongoing search for spiritual transcendence and a medium through which he could express his sexual desire for men. White lived much of his life as a closeted homosexual, afraid to express himself publicly for fear of loss of his teaching jobs, although some of his most compelling images are figure studies of men that he taught or with whom he had relationships.

the only child of charles Henry White, a bookkeeper, and Florence May White, a dressmaker. During his early years he spent much of his time with his grandparents. His grandfather was an amateur photographer and gave Martin his first camera in 1915. by the time White graduated from high school he was already aware of his latent homosexuality. In 1927 he wrote about his feelings for men in his diary, and to his dismay his parents read his diary without his permission. After what he called a brief crisis period, during which he left home for the summer, he returned to live with his family while he started college. His parents never spoke of his homosexuality again. White entered the University of Minnesota in 1927 and majored in botany. by the time he should have graduated in 1931 he had not met the requirements for a science degree, and he left the university for a while.

Starting in oregon in 1937 and continuing until he died in 1975, White took thousands of black-and-white and color photographs of landscapes, people and abstract subject matter, created with both technical mastery and a strong visual sense of light and shadow. His work was highly influential to a generation of photographers and still resonates today.

During this period he became very interested in writing, and he started a personal journal that he called ‘Memorable Fancies’, where he wrote poems, intimate thoughts about his life and his struggles with his sexuality, excerpts from letters that he wrote to others, occasional diarylike entries about his daily life, and, later on, extensive notes about his photography. He continued to fill the pages of his journal until he directed most of his energy into teaching around 1970. In 1932 White re-entered the university and studied both writing and botany. With his previous credits, he was able to graduate in 1934. The next year he took some graduate classes in botany, but after 6 months he decided that he lacked real interest in becoming a scientist. He spent the next 2 years doing odd jobs and exploring his writing skills. During this period he began creating a set of 100 sonnets on the theme of sexual love, his first attempt at grouping his creative output.

Minor Martin White was born in Minneapolis, Minnesota in 1908. He was

In late 1937 White decided to move to Seattle. He purchased a 35mm

Argus camera and took a bus trip across country toward his destination. He stopped in Portland, oregon, on his way and decided to stay there. For the next 2 1/2 years he lived at the yMcA in Portland while he explored photography in depth for the first time. It was at the yMcA that he taught his first class in photography, to a small group of young adults. He also joined the oregon camera club in order to learn about how photographers talk about their own images and what photography means to them. White was offered a job in 1938 as photographer for the oregon Art Project. one of his tasks was to photograph historic buildings in downtown Portland before they were demolished for a new riverfront development. At this same time he made publicity photos for the Portland civic Theater, documenting their plays and taking portraits of the actors and actresses. In 1940 White was hired to teach photography at the ‘La Grande Art center’ in eastern oregon. He quickly became immersed in his work and taught classes three days a week, lectured on art of local students, reviewed exhibitions for the local newspaper and delivered a weekly radio broadcast about activities at the Art center. In his spare time he traveled throughout the region, taking photographs of the landscape, farms and small town buildings.

Minor White American, 1908–1976 “Something Died Here,” San Francisco, 1947 Gelatin silver print Image: 22.8 x 17.5 cm (9 x 6 7/8 in.) The Minor White Archive, Princeton University Art Museum, bequest of Minor White © Trustees of Princeton University

White resigned from the Art center in late 1941 and returned to Portland where he intended to start a commercial photography business. That year 3 of his photographs were accepted by the Museum of Modern Art in New york for inclusion in their ‘Image of Freedom’ exhibition. At the close of the exhibition the museum purchased all three prints, the first time his images entered a public collection. The following year the Portland Art Museum gave White his first one-man show, exhibiting four series of photos he made while in eastern oregon. In April 1942 White was drafted into the United States Army and hid his homosexuality from the recruiters. He spent the first two years of World War II in Hawaii and in Australia, and later he became chief of the Divisional Intelligence branch in the southern Philippines. During this period he rarely photographed, choosing instead to write poetry and extended verse. After the war White traveled to New york city and enrolled in columbia University. While in New york he met and became close friends with beaumont and Nancy Newhall, who were working in the newly formed photography department at the Museum of Modern Art, where was offered a job as photographer.

In February 1946 White had the first of several meetings with photographer Alfred Stieglitz in New york. White knew of his Stieglitz’s deep understanding of photography from his various writings, and through their conversations White adopted much of Stieglitz’s theory of equivalence, where the image stands for something other than the subject matter, and his use of sequencing pictorial imagery. Minor White American, 1908–1976 203 Park Avenue, Arlington, Massachusetts, 1966 Gelatin silver print Image: 34.3 x 12.7 cm (13 1/2 x 5 in.) Promised gift of Daniel Greenberg and Susan Steinhauser Reproduced with permission of the Minor White Archive, Princeton University Art Museum. © Trustees of Princeton University

During this time White met and became friends with some of the major photographers of the time, including berenice Abbott, edward Steichen, Paul Strand, edward Weston, and Harry callahan. Steichen, who was director of the photography department at the Museum of Modern Art, offered White a curatorial position at the museum, but instead White accepted an offer from Ansel Adams to assist him at the newly created photography department at the california School of Fine Arts (cSFA) in San Francisco. White moved to San Francisco in July and lived in the same house as Adams for several years. While there, Adams taught White about his Zone System method of exposing and developing photographs, which White used extensively in his own work and later insisted that his students learn it as well. While in San Francisco White became close friends with edward Weston in carmel, and for the remainder of his life Weston has a profound influence on White's photography and philosophy. over the next several years White spent a great deal of time photographing at Point Lobos, the site of some of Weston's most famous images, approaching many of the same subjects with entirely different viewpoints and creative purposes. by mid-1947 White was the primary teacher at cSFA and had developed a three-year course that emphasized personal expressive photography. over the next six years he brought in as teachers some of the best photographs of the time. During this time White created his first grouping of photos and text in a non-narrative form, a sequence he called ‘Amputations’. The next 3 years were some of White's most prolific in terms of creative output. In addition to taking dozens of land and waterscapes, he made dozens of photographs that evolved into some of his most compelling sequences. Three in particular showed

his continuing struggles with his sexuality, ‘Song Without Words’, ‘The Temptation of St. Anthony Is Mirrors’, and ‘Fifth Sequence/Portrait of a young Man as Actor’. In 1949 White purchased a small Zeiss Ikonta camera and began a series of urban street photographs. over the next 4 years he took nearly 6,000 images, all imagined through his newfound interest in the poetry of Walt Whitman. The project, which he called ‘city of Surf’, included photographs of San Francisco's chinatown, the docks, people on the streets and various parades and fairs around town. The period of 1951-52 is one of the formative times in White's career. He participated in a conference on Photography at the Aspen Institute, where the idea of creating a new journal of photography was discussed by Ansel Adams, Dorothea Lange, beaumont and Nancy Newhall, Frederick Sommer and others. Soon after, Aperture magazine was founded by many of these same individuals. White volunteered for and was approved as editor, and the first issue appeared in April 1952. ‘Aperture’ quickly became one of the most influential magazines about photography, and White remained as editor until 1975. At the end of 1952 beaumont Newhall became the curator at the George eastman House in rochester, New york, and he invited White to work with him there as a curatorial assistant. over the next three years White organized 3 theme exhibitions that demonstrated his particular interests: ‘camera consciousness’, ‘The Pictorial Image’ and ‘Lyrical and Accurate’. In 1955 he joined the faculty at the rochester Institute of Technology (rIT), where he taught one day a week. by the end of 1955 White created a new sequence, ‘Sequence 10/rural cathedrals’, which included landscape images from upper New york that were shot on both regular and infrared film. After Walter chappell

moved to rochester later in the year, he engaged White in long discussions about various eastern religions and philosophy. White began practicing Zen meditation and adopted a Japanese style of decoration in his house. over the next two years the discussions between White and chappell metamorphosed into lengthy discourses about writings and philosophy of George Gurdjieff. White gradually became an adherent of Gurdjieff's teachings and started to incorporate Gurdjieff's thinking into the design and implementation of White's workshops. Gurdjieff's concepts, for White, were not just intellectual exercises but guides to experience, and they greatly influenced much of his approach to teaching and photography throughout his life. During this same period White began making his first color images. Although he is better known for his black-and-white photography, he produced a huge output of color photograph. In 1959 White mounted a large exhibition of 115 photos of his ‘Sequence 13/return to the bud’ at the George eastman House. It was his largest exhibition to date and later traveled to the Portland Art Museum in oregon. In the early 1960s White also studied hypnosis and incorporated the practice into some of his teachings as a way of helping students experience photographs. White continued to teach extensively both privately and at rIT for the next several years. During this time he traveled across the U.S. in the summers taking photographs along the way. In his journal he referred to himself during this period as ‘The Wanderer’, which had both literal and metaphorical meanings due to his search for understanding life. In 1962 he met Michael Hoffman, who became a friend, colleague and, later, assumed the editorship of Aperture magazine.

40 Minor White American, 1908â&#x20AC;&#x201C;1976 Pavilion, New York, 1957 Gelatin silver print Image: 22.5 x 29.5 cm (8 7/8 x 11 5/8 in.) The J. Paul Getty Museum, Los Angeles, Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation Reproduced with permission of the Minor White Archive, Princeton University Art Museum. ÂŠ Trustees of Princeton University

43 Minor White American, 1908â&#x20AC;&#x201C;1976 Cabbage Hill, Oregon (Grande Ronde Valley), 1941 Gelatin silver print Image: 18 x 22.9 cm (7 1/16 x 9 in.) The Minor White Archive, Princeton University Art Museum, bequest of Minor White ÂŠ Trustees of Princeton University

44 Minor White American, 1908â&#x20AC;&#x201C;1976 72 N. Union Street, Rochester, 1960 Gelatin silver print Image: 30.5 x 24.1 cm (12 x 9 1/2 in.) Daniel Greenberg and Susan Steinhauser Reproduced with permission of the Minor White Archive, Princeton University Art Museum. ÂŠ Trustees of Princeton University

In 1965 White was invited to help design a newly formed program in visual arts at the Massachusetts Institute of Technology (MIT) in boston. After being appointed as a visiting Professor, White moved to boston. Soon after moving to boston he completed a different kind of sequence, called ‘Slow Dance’, which he would later integrate into his teachings. He continued to explore how people understand and interpret photography and began to incorporate techniques of Gestalt psychology into his teachings. In order to help his students experience the meaning of "equivalence," he started his requiring them to draw certain subjects as well as photograph them. White began to experience periodic discomfort in his chest in 1966, and his doctor diagnosed his ailment as angina. His symptoms continued throughout the rest of his life, leading him to intensify his study of spiritual matters and meditation. He turned to astrology in an attempt to increase his understanding about life, and his interest in it became so significant that he required all of his current and prospective students to have their horoscopes completed. by this point in his life White's teaching unorthodox methods were well established, and students who went through his workshops were both mystified and enlightened by the experience.

Minor White American, 1908–1976 Rochester, New York, 1963 Gelatin silver print Image: 9.2 x 7.3 cm (3 5/8 x 2 7/8 in.) Promised gift of Daniel Greenberg and Susan Steinhauser Reproduced with permission of the Minor White Archive, Princeton University Art Museum. © Trustees of Princeton University

White began writing the text for ‘Mirrors’, ‘Messages’, ‘Manifestations’, which was the first monograph of his photographs, in late 1966, and three years later the book was published by ‘Aperture’. It included 243 of his photographs and text, including poems, from his journal and other writings. During this same time White completed ‘Sequence 1968’, a series of landscape images from his recent travels. White continued to teach extensively and make his own photographs even though his health was declining. He devoted more and more time to his writing and began a long text he called ‘consciousness in Photography and the creative Audience’, in which he referred to his 1965 sequence ‘Slow Dance’ and advanced the idea that certain states of heighten awareness were necessary to truly read a photograph and understand its meaning. In 1971 he traveled to Puerto rico to explore more of his color photography, and in 1974 and 1975 he journeyed to Peru to teach and to further his own Gurdjieff studies. In 1975 White traveled to england to lecture at the victoria and Albert Museum and to teach classes at various colleges. He continued on a hectic travel schedule for several weeks, then flew directly to the University of Arizona in Tucson to take part in a symposium there. When he returned to boston after nearly six weeks of travel, he suffered a heart attack and was hospitalized for several weeks. After this, White's focus turned even more inward, and he photographed very little. He spent much of his time with his student Abe Frajndlich, who made a series of situational portraits of White around his home and in his garden. A few months before his death White published a short article in Parabola maga-

zine called ‘The Diamond Lens of Fable’, in which he associated himself with Gilgamesh, Jason and King Arthur, all heroes of old tales about life-long quests. on June 24, 1967, White died of a second heart attack while working at his home. He bequeathed all of his personal archives and papers, along with a large collection of his photographs, to Princeton University. He left his house to ‘Aperture’ so they could continue the work he started there. The exhibition ‘Minor White: Manifestations of the Spirit’ includes never-before-seen photographs from the artist’s archive at Princeton University, recent Getty Museum acquisitions, a significant group of loans from the collection of Daniel Greenberg and Susan Steinhauser, alongside loans from the Museum of Modern Art, New york, the Portland Art Museum, and the Los Angeles county Museum of Art. Also featured is White’s masterly photographic sequence Sound of one Hand (1965).

J. PaUl getty MUSeUM

1200 Getty center Drive Los Angeles, cA 90049-1687 Phone: +1 (310) 440-7330 Fax: +1 (310) 440-7751 gettymuseum@getty.edu www.getty.edu open: Tuesday - Friday and Sunday 10:00 a.m.5:30 p.m. Saturday 10:00 a.m. -9:00 p.m. closed Mondays.

G r e G G o rP oM A N rTrAIT

HUMAN NAT IN ITS INFINITe r A N G

N TS

Ure

“

For me a photograph is m o s t s u c c e s s f u49 l when it doesn’t answer all the questions but leaves something to the imagination

“

Greg Gorman Tom Waits Los Angeles, 1980 Silver Gelatin Print 20 x 24 inch ÂŠ Greg Gorman courtesy galerie hiltawsky

Galerie Hiltawsky in berlin presents, from September 13 to November 9, the exhibition of the American photographer, Greg Gorman, with more than 30 portraits of Hollywood stars such as Sharon Stone, Sophia Loren, robert De Niro, Leonardo de caprio, Marlon brando, Johnny Depp, Jeff bridges as well as music legends like David bowie, Jim Morrison, Tom Waits, Michael Jackson, Frank Zappa, Philip Glass, Pop-Art Icon Andy Warhol and many others.

Greg Gorman David Bowie New York, 1984 Archival Pigment Print 20 x 24 inch ÂŠ Greg Gorman courtesy galerie hiltawsky

Greg Gorman was born in Kansas city, Missouri, USA in 1949. Although he studied photojournalism at the University of Kansas - as initially he wanted to become a photojournalist - he changed field when he photographed Jimi Hendrix at his concert in Kansas city in 1968 and he started his career as a portrait photographer. He completed his studies at the University of Southern california graduating with a Master of Fine Arts degree in cinematography in 1972 and he started portraying actors and musicians. His work has been published in national magazine features and covers, including ‘esquire’, ‘GQ’, ‘Interview’, ‘Life’, ‘vogue’, ‘Newsweek’, ‘rolling Stone’, ‘Time’, ‘vanity Fair’, and ‘the London Sunday Times’. Many of his iconic blackand-white images became movie posters and covers of cDs or magazines. Gorman’s photographs served more than 20 times the cover of Andy Warhol’s Interview.

Greg Gorman Grace Jones Los Angeles, 1995 Archival Pigment Print 50 x 40 inch © Greg Gorman courtesy galerie hiltawsky

In 1985 the American photographer began to expand his personal work exploring the human form, and became a notable photographer for not only his celebrity portraiture but also his figure studies of the male and female nude. With his unique style with sharp contrasts, extreme lighting and shadows, he concentrates on the graphic of face and body, creating a classic aesthetic, which combines the timeless beauty of human nature with erotic charisma. Gormanâ&#x20AC;&#x2122;s images of David bowieâ&#x20AC;&#x2122;s wife, Iman, and male star models, Tony Ward and Mickey Hardt, are legendary.

Greg Gorman Michael Jackson Los Angeles, 1987 Silver Gelatin Print 16 x 20 inch ÂŠ Greg Gorman courtesy galerie hiltawsky

galerie hiltawSky

Tucholskystrasse 41, 10117 berlin Phone:

+49 171 8134567 mail@hiltawsky.com www.hiltawsky.com

Greg Gorman Andy Warhol, Los Angeles, 1986 Archival Pigment Print 50 x 40 inch ÂŠ Greg Gorman courtesy galerie hiltawsky

www.facebook.com/viewmastersgr

www.viewmasters.gr

extreme Phenomenon for extreme People

www.facebook.com/maria.tsilligiri

Maria Tsiligiri

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

72 ÂŠ

Maria Tsilli

74 ÂŠ

Maria Tsilli

Maria Tsilli ÂŠ

Typhoon Haiyan, local name Yolanda,considered one of the most powerful storms on record to make landfall, battered the Philippines and caused catastrophic damage on November 8th 2013. Even though, typhoon was predicted and areas were evacuated nobody expected the intensity of the phenomenon with winds that reached 300km/hr. Nearly 6,000 people are believed to have died and some 3.6 million are displaced, ships washed ashore, houses and businesses were completely destroyed, electricity and water supply was cut off for the next 4 months. Humanitarian aid, on pictures NGO Arche Nova, responded immediately and along with governmental help began to work on the improvement of the situation. But nothing would have been done if it were not the strength of the inhabitants. People who had lost their families and their properties,stood on their feet and helped with every means they had for the reconstruction of their lives/cities. People who are genuinely polite and have zest for life.

Maria Tsilli ÂŠ

Almost 8 months after Yolanda,Tacloban city is back to life even though remnants of the typhoon are still visible. Although inhabitants are deeply traumatize, they move on with their lives. Shops and businesses operate again, people follow their daily habits. Approximately a week ago Pintados/Sangyaw Festival, an event full of joy, happiness and colors, took place even if it was initially announced to be canceled for this year. It is with a smile and positive aura the people of Tacloban confront the real difficulties of life.

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

90 ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

ÂŠ

Maria Tsilli

98 ÂŠ

Maria Tsilli

100

101

ÂŠ

Maria Tsilli

102 ÂŠ

Maria Tsilli

103

104

105

ÂŠ

Maria Tsilli

ÂŠ

106

robert MacNeil

g l o w o

f n i g h t

107

ÂŠ

www.robmacneil.com

108

109

ÂŠ

www.robmacneil.com

110 ÂŠ

www.robmacneil.com

111

112

113

ÂŠ

www.robmacneil.com

114 ÂŠ

www.robmacneil.com

115

116 ÂŠ

www.robmacneil.com

117

118

119

ÂŠ

www.robmacneil.com

120

121

ÂŠ

www.robmacneil.com

122 ÂŠ

www.robmacneil.com

123

124

125

ÂŠ

www.robmacneil.com

126 ÂŠ

www.robmacneil.com

127

128 ÂŠ

www.robmacneil.com

129

130 ÂŠ

www.robmacneil.com

131

132

133

ÂŠ

www.robmacneil.com

134

135

ÂŠ

www.robmacneil.com

136 ÂŠ

www.robmacneil.com

137

138 ÂŠ

www.robmacneil.com

139

your image goes here!

submit yout work and be a part of SHooT Me submissions@shootmemag.com

Arriving Somewhere... ÂŠ

Fabio Moscatelli

But Not Here

142

143

ÂŠ

www.fabiomoscatelli.com

144 ÂŠ

www.fabiomoscatelli.com

145

146

147

ÂŠ

www.fabiomoscatelli.com

148

149

ÂŠ

www.fabiomoscatelli.com

150

151

ÂŠ

www.fabiomoscatelli.com

152

153

ÂŠ

www.fabiomoscatelli.com

154 ÂŠ

www.fabiomoscatelli.com

Andrei is a 10 year-old boy and just a while ago he was living the cheerful life that every child deserves to live. With the occurrence of the economic crisis his father got fired and his mum moved to Italy to find a job. Over the months, the absence of his mother as well as his fatherâ&#x20AC;&#x2122;s alcohol abuse had become a tough burden to bear. The presence of his relatives and the strong affection to his motherland cannot fill the emptiness inside him. After a long and painful lawsuit between his parents, Andrei finally catches up with his mother in Italy but what seems to be a happy ending is actually the beginning of a new life where everything looks different and where expectations turn into delusions. Andrei deeply misses his old habits and finds it difficult to integrate into the new society. This generates a strong discomfort that gets even worse because of the arduous relationship between the boy and his motherâ&#x20AC;&#x2122;s new partner. Andrei shuts himself out, avoids people and isolates himself into a mental and physical cage. He hardly ever leaves the flat that, although it does not feel like home, it is the only refuge he has. His body is in Italy but his spirit is still there in Romany, since Andrei has arrived somewhere but not hereâ&#x20AC;Ś

155

156 ÂŠ

www.fabiomoscatelli.com

157

158

159

ÂŠ

www.fabiomoscatelli.com

160

161

ÂŠ

www.fabiomoscatelli.com

162 ÂŠ

www.fabiomoscatelli.com

163

164

165

ÂŠ

www.fabiomoscatelli.com

166

167

ÂŠ

www.fabiomoscatelli.com

168 ÂŠ

www.fabiomoscatelli.com

169

170

171

ÂŠ

www.fabiomoscatelli.com

172

173

ÂŠ

www.fabiomoscatelli.com

174 ÂŠ

www.fabiomoscatelli.com

175

176

177

ÂŠ

www.fabiomoscatelli.com

178

179

ÂŠ

www.fabiomoscatelli.com

180

181

ÂŠ

www.fabiomoscatelli.com

182

...safely tucked away ÂŠ

Malktime Photography

183

ÂŠ

www.malktime.com

184 ÂŠ

www.malktime.com

185

186

187

ÂŠ

www.malktime.com

188 ÂŠ

www.malktime.com

189

190

191

ÂŠ

www.malktime.com

192 ÂŠ

www.malktime.com

193

194

195

ÂŠ

www.malktime.com

196 ÂŠ

www.malktime.com

197

198

199

ÂŠ

www.malktime.com

ÂŠ

www.malktime.com

202

203

ÂŠ

www.malktime.com

204

205

ÂŠ

www.malktime.com

206 ÂŠ

www.malktime.com

207

208

209

ÂŠ

www.malktime.com

210 ÂŠ

www.malktime.com

211

212 ÂŠ

www.malktime.com

213