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"As in many fields of art history, the work of women photographers has often been overlooked, and few of their names are now widely recognized. However, women were closely involved in all major photography movements of the 19th and 20th centuries, and have used the camera as an extraordinary tool for emancipation and experimentation. These are artists who never stopped documenting, questioning and transforming the world, breaking down social boundaries, challenging gender roles and expressing their imagination and sexuality."--

Women photographers --- Photography --- Women photographers --- History --- History

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'Quitting Your Day Job: Chauncey Hare's Photographic Work' is the first critical biography of the American photographer Chauncey Hare (1934-2019). Although Hare received a significant, if fleeting, degree of professional success, including a solo exhibition at the Museum of Modern Art in 1977, an Aperture monograph, and three Guggenheim fellowships, his work has not received the critical attention it deserves and his extraordinary life story remains obscure. This lack of recognition has much to do with Hare's fanatical aversion to the commercial realms of the art world even at the height of his professional success. Perhaps his most overt declaration of aesthetic disavowal was his ultimate decision to renounce his identity as an artist in 1985 and pursue a career as a clinical therapist specializing in "work abuse" (which is also the title of a book he co-authored on the subject in 1997). Hare would subsequently donate his entire archive to the Bancroft Library at the University of California - notably not the Berkeley Museum of Art - with the provision that the original prints cannot be exhibited and that any reproduction of his work must include a caption that states that the photograph was created to protest and "warn against the growing domination of working people by multinational corporations and their elite owners and managers."

Hare, Chauncey, --- Photographers

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To define the social interactions of a photographer and the portrayed artist as friendship is a recurring topos in art. However, only in some instances can the photographic portrait fulfill the concrete visibility represented in romantic paintings. Do the attributes of portraiture of a friend remain as unspecified as the hope for authenticity and intimacy ascribed to the term friendship?

Artists. --- Portraits. --- Photographers.

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"In 1947, as the first demonstrations calling for Ghana's independence were taking place, the young James Barnor began training in a photographic studio in Accra. His career was launched. In 1987, it took a last change of direction after he ceased working as an official government photographer. Over the next four decades, driven by his limitless curiosity for the photographic medium, but also by sometimes difficult economic conditions that compelled him to reinvent himself, Barnor constantly moved around the gamut of photographic professions. His trajectory has revolved between the two poles of a world he has made for himself: Accra, his birthplace, and London, his adopted city. For his first retrospective in France, James Barnor has assembled, with LUMA, a completely original portfolio of his favourite images. These were selected by re-examining his vast archive of 30,000 negatives and several hundred prints and period documents. The exhibition has been organised to allow a comparison of the images and archives so as to cast light on the context of their production. It also gives plentiful space to the comments of the photographer, now ninety-three years old and a veritable archive of information that enlivens the myriad stories represented in his images. Following a chronological sequence, we travel from Ghana in the 1950s to the United Kingdom in the 1960s, then back to Ghana from the 1970s onwards. Whereas his work joins that of other West African photographers of the same generation, who are now well known, his continual departures and returns have made him part of a transcontinental history of photography that has not yet received great attention. Barnor's images bring to life the utopia of a shared world, one that transcends the nationalisms of the second half of the 20th century. Long side-lined, today these images inspire a new generation of artists who are fighting to represent blackness around the world."--

Portrait photography --- Africans --- Photography, Artistic --- Photographers, Black --- Photographers, Black --- Barnor, James --- Barnor, James

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Dawoud Bey and Carrie Mae Weems met in New York in the late 1970s, and over the next 45 years these close friends and colleagues have each produced unique and influential bodies of work around shared interests and concerns. This publication brings together over 140 photographs and video art from the 1970s through the 2010s by two of our most notable and influential photo-based artists. Since first meeting at the Studio Museum in Harlem five decades ago, Bey and Weems have maintained spirited and supportive mutual engagement while exploring and addressing similar themes: race, class, representation, and systems of power. Dawoud Bey & Carrie Mae Weems: In Dialogue brings their work together in five thematic groupings to shed light on their unique creative visions and trajectories, and their shared concerns and principles.

African American photographers --- African American women photographers --- Portrait photography --- Photography, Artistic --- Photography, Artistic --- Bey, Dawoud, --- Weems, Carrie Mae,