Since the 70’s, Lee Friedlander has been intermittently documenting Americans at work
http://www.nytimes.com/2006/10/15/magazine/15style.html?_r=1&oref=slogin
Blush, Sweat and Tears
Lee Friedlander for The New York Times |
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Lee Friedlander for The New York Times |
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Nick Knight, Director of SHOWstudio, is among the world's most influential photographers. He has won numerous awards for his editorial work for Vogue, Dazed & Confused, i-D, The Face and Visionaire, as well as for fashion and advertising projects for clients including Alexander McQueen, Calvin Klein, Christian Dior, Levi Strauss, Yohji Yamamoto and Yves Saint Laurent. Knight has also shot record covers for Björk, David Bowie, Kylie and Massive Attack. As a fashion photographer, Nick Knight has consistently challenged conventional notions of beauty. His first book of photographs, Skinheads, was published in 1982. He has since produced Nicknight, a twelve year retrospective, and Flora, a series of flower pictures, both published by Schirmer Mosel. Knight's work has been exhibited at international institutions such as the Victoria & Albert Museum, Saatchi Gallery, The Photographers Gallery and Hayward Gallery. He has also produced a permanent installation, Plant Power, for the Natural History Museum in London.
http://www.showstudio.com/blog
A magnified version of its twin at the Nottingham Playhouse, sculptor Anish Kapoor's dazzling Sky Mirror recently arrived at NYC's Rockefeller Center. The enormous stainless steel disc measures 33 feet across and weighs 23 tons. The mirror will remain at the site for six weeks before moving to another city. The colossal object fits in with the Bombay-born artist's other large-scale works, which include Marsyas , a steel and crimson PVC structure installed in Tate Modern's Turbine Hall, and Cloud Gate , a stainless steel ellipsoid that rests in Chicago's Millennium Park. Kapoor has also been commissioned to create the centerpiece sculpture at a planned memorial garden near New York's Ground Zero to commemorate British victims of the 9/11 attacks.
JOHANNESBURG
ON the set of the Australian director Phillip Noyce’s “Catch a Fire” last fall, the mood was as mixed as its cast and crew, a striking microcosm of post-apartheid South Africa. White South African actors performed scenes in English and Afrikaans. Black South African crew members traded information in the 11 languages spoken here. Local white crew members wore blond dreadlocks. And former African National Congress fighters stood in the same room with a retired security branch police officer, uneasily comparing notes on the fine points of torture.
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MARINA ZENOVICH’S office here looks as if it should belong to an absent-minded film professor. A cluttered room adjacent to an editing suite on the city’s west side, it is packed with file folders containing hundreds of press clippings and the inevitable stacks of videotape. But a corkboard on the wall betrays a preoccupation that stirs more than academic passions in these parts.
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