Wednesday, January 10, 2018

BELINDA FUENTES REVIEWS SUSAN SWIHART


            Susan Swihart ‘s About Face specifically follows the struggles and triumphs of being a twin but on a broader spectrum revolves around dependency. The entire body of work displays the war between independence and unity and identity amongst a pair. As a viewer the pair does not necessarily mean a twin but can refer to a sibling, significant other, friend, parents or even a thing. Entangled, Support and Shelter represent the moments of oneness where the two people blur into each other and create a morphed individual. Scientifically, these girls at one point were one zygote and eventually split into two embryos. These images also highlight the variations of dependency that include comfort and frustration. Always having someone present can be both warming and maddening. Furthering the sense of wrestling with identity, the girls are faceless, whether their backs are to the camera; an object in blocking their face or their head is out of the frame. Joy, Undone and Two represent the individuality that creeps out from them with slightly different gestures such as one sitting entangled and one standing. Clean, Cold, Grow and Listen show how sometimes naturally they are the same no matter how hard they battle against it. Their gestures are almost mirrored in the way their hands are raised in Clean, how their heads are down in Cold, how their legs slant in Grow, and how their hair lays against the ground in Listen. While we all cannot relate to being a twin, we could possibly all relate to having an attachment to someone or something that is both empowering and retraining.

Tuesday, January 9, 2018

Burk Frey reviews Deborah Turbeville



     Deborah Turbeville (USA, 1932-2013) was a fashion photographer who, along with Guy Bourdin and Helmut Newton, pioneered the transition of fashion's clean, well-lit character into a rougher, looser, more artistic, and avant garde style. Contrasting the urban eroticism of Bourdin and Newton, however, Turbeville achieved this with mysterious, dreamlike, and delicate scenes.



     While we can recognize her work by the grain, blurring, and understated tones, I think Turbeville's most significant artistic contribution is her rejection of the male gaze - often supplanting it with something more compelling, experimental, and emotionally raw.

     Turbeville was fixated on her own complex relationship with femininity, the art and fashion worlds (often apart, particularly prior to her influence), her insecure yet genuine rapport with the models, and her art's moody, broken quality. "The idea of disintegration is really the core of my work. I destroy the image after I’ve made it, obliterate it a little so you never have it completely there."

Burk Frey reviews Anthony Francis


     Anthony Francis is a San Antonio-based photographer, writer, and collaborator who specializes in portraits. He considers "every picture a portrait," which seems like a mantra or a way of consciously emphasizing his mental approach to photography. I interpret Francis' statement to mean that he finds biography or autobiography in every scene, regardless of content; even so, the vast majority of his work does include human subjects.

Maurice in the City 11

Rosalyn at Window
     Another emphasis for Francis, borne out of his background as an English teacher, is the infusion of poetic imagery or concept in his work. This is most evident in his Real Lyric series, which he presented to the UTSA BFA photo students in Fall 2017 (not pictured).

     While I appreciate Francis' process in that series, I instead find myself drawn to some of his more traditionally narrative work, like his Capoeira For Everyone documentation (excerpted below). I admire the way his personality comes through without overtaking the subject. It feels optimistic and almost co-authored. Francis: "I make portraits because I love people."