meiselas - Synonyms for meiselas | Synonyms Of meiselas

Examples of "meiselas"
Some more contributions in: "Kurdistan. In the Shadow of History" by Susan Meiselas, New York
Produced with guest-editor Susan Meiselas, this issue considers the impact of new media on socially engaged documentary work
Joy Garnett's 2004 exhibition "Riot" featured a series of paintings based on images pulled from mass media sources, depicting figures in "extreme emotional states." One of the paintings, entitled "Molotov", was originally sourced from a jpeg of "Molotov Man" found on the Internet. After the "Riot" exhibition closed, Meiselas's lawyer contacted Garnett with a cease and desist letter claiming copyright infringement and "piracy" of Meiselas' photograph. The letter stipulated that she remove the image from her website, sign a retroactive licensing agreement to transfer all rights to the painting to Meiselas, and credit Meiselas on all subsequent reproductions of "Molotov".
Meiselas claims that "There is no denying in this digital age that images are increasingly dislocated and far more easily decontextualized." Meiselas ultimately believes that while "Technology allows us to do many things ... that does not mean we must do them." Meiselas contends: "I never did sue Joy in the end, nor did I collect any licensing fees. But I still feel strongly, as I watch Pablo Arauz's context being stripped away--as I watch him being converted into the emblem of an abstract riot--that it would be a betrayal of him if I did not at least protest the diminishment of his act of defiance." Others have responded to this, however, by affirming that Pablo Arauz lent his gesture without his knowledge to the Meiselas photograph, which was to become the iconic symbol of the triumphant turning point of the Sandinista Revolution. These critics note that Meiselas does not mention Pablo Arauz anywhere in her photographic essay, "Nicaragua", where his image, the image of "Molotov Man," first appeared; it was therefore Meiselas who initially stripped him of his identity as Pablo Arauz in order to convert the figure into an abstract emblem; this necessarily brings up the issue of the suppression of individual identity in the production of a Cultural icon.
His short film work includes No Vladimir (2000) produced by Chantal Akerman and Ross McElwee. The Windmill Movie (2009), starring Wallace Shawn, Bob Balaban and Susan Meiselas was his debut feature.
Garnett responded to a threat of injunction by removing the image of "Molotov" from her website. Once the image was removed from Garnett's website, Meiselas did not pursue the matter further.
Lucinda Watson, Ballets Trockadero de Monte Carlo, Robert Meeropol, Michael Meeropol,Robert De Machy, Marjorie Neikrug, Susan Meiselas; John Szarkowski, Ralph Baum, Lydia Fischer Frank, David Plowden, Patricia Carbine, Sir Georg Solti, Mirella Freni, Rolf Lieberman, Marion Javits, Kurt Moll
Before starting a freelance career in 2005, Siegal McIntyre worked as studio manager for noted war photographer James Nachtwey, and assisted Magnum Pictures photographer Susan Meiselas. She briefly interned for fashion photographer Max Vadukul.
In the transcript, Meiselas states that her mission as a photojournalist was to provide a cultural and historical context for the images she captured, which she views as fundamentally different from Garnett's goal as an artist to "decontextualize" the images that she appropriates and remediates in paint. Meiselas mainly objects to the removal of her original subject (whom she identifies as "Molotov Man", later revealed to be a man named Pablo Arauz) from the context of the photo, which she views as disrespectful to the individual himself and believes devalues her original work.
However, it was subsequently widely reproduced in both pro- and anti-Sandinista propaganda and art. Meiselas herself exhibited the photograph in Nicaragua (along with others from the same collection) at the time of the twentieth anniversary of the revolution, in 1999.
Meiselas was born in Baltimore, Maryland. She attended junior high school in Woodmere, New York. She earned her BA at Sarah Lawrence College and an MA in visual education at Harvard University. She received a Honorary Doctorates in Fine Arts from the Parsons School in 1986 and from The Art Institute of Boston in 1996.
In the coming years Wassmann would discover the black and white photography of Robert Frank, Diane Arbus, Garry Winogrand and Lee Friedlander, while coming under the increasing influence of the color imagery of William Eggleston, Joel Meyerowitz, Stephen Shore and Susan Meiselas.
La photographie américaine à travers les collections françaises, Robert Adams, Cornell Capa, Gilles Caron, Don McCullin, Guy Le Querrec, Susan Meiselas, Julien Chapsal, Michael Ackerman, David Burnett, Lise Sarfati, Sophie Ristelhueber, Dominique Issermann, Jean Gaumy, Daniel Angeli, Paul Graham, Claudine Doury, Jean-Christophe Bechet, David Goldblatt, Anders Petersen, Philippe Chancel, Meyer, Olivier Culmann, Gilles Coulon, …
Elman worked as a journalist in Central America, covering the war in Nicaragua against the Somoza regime. He traveled on assignment for GEO (magazine) with the photojournalist Susan Meiselas and his text accompanied her photos of the Sandinistan rebels. Elman's account of that trip and succeeding visits to Nicaragua are told in his book, "Cocktails at Somoza's: A Reporter's Sketchbook".
Pandora's Box is a professional domination BDSM studio in New York City. It has been the subject of the documentary "Fetishes" by Nick Broomfield, and a book by the photographic journalist Susan Meiselas, as well as the subject of numerous magazine and newspaper articles.
In the late 1970s Meiselas also documented the insurrection in Nicaragua and human rights issues in Latin America. Her most noted photograph from this project was "Molotov Man", depicting a man (later found to be called Pablo 'Bareta' Aruaz) poised to throw a molotov cocktail, made from a Pepsi bottle, in his right hand, while holding a rifle in his left. This became noted in its Nicaraguan context as a symbol of the Sandanista revolution, and was widely reproduced and remixed in Nicaragua. Latterly, outside this context, it was reproduced via an internet meme based on Joy Garnett's 2003 reproduction "Molotov", becoming a prominent case-study of re-use of art. In 2007, Harper Magazine published an article titled, On the Rights of Molotov Man. This article is a collaboration between Susan Meiselas and Joy Garnett on the topic of the use of Meiselas's photo in Garnett's gallery showing.
Garnett's 2004 exhibition "Riot" featured a series of paintings based on images pulled from mass media sources, depicting figures in "extreme emotional states." One of the paintings, entitled "Molotov", was originally sourced from a jpeg found on the Internet that was later discovered to be a fragment of a larger photograph taken by Susan Meiselas during the Sandinista Revolution (1979). After the "Riot" exhibition closed, Meiselas's lawyer contacted Garnett with a cease and desist letter claiming copyright infringement and "piracy" of Meiselas' photograph. Garnett acceded, but popular support for her artwork, marshalled via Rhizome.org, inspired a solidarity campaign called "Joywar", in which images of Garnett's painting were reposted widely on the Internet, or remixed and circulated in new forms.
The collection is strongest in its holdings of American and European documentary photography of the 1930s to the 1990s. It comprises large bodies of work by W. Eugene Smith, Henri Cartier-Bresson, Robert Capa, the Farm Security Administration photographers, Alfred Eisenstaedt, Lisette Model, Gordon Parks, James VanDerZee, and Garry Winogrand. Recent purchases have included work by contemporary photographers such as Carrie Mae Weems, Justine Kurland, Katy Grannan, Vik Muniz, and Susan Meiselas.
Her first major photography project documented strippers at New England fairs and carnivals, which she worked on during summers while teaching in New York City public schools. The project resulted in an exhibition at the Whitney Museum and a book, "Carnival Strippers", which incorporated audio interviews with the subjects on a CD packaged with the book. Meiselas was interviewed in 1976 by Barbara Londin at WBAI about what inspired her "Carnival Strippers" project, and her experiences documenting the shows and showing her work.
Molotov Man is the title by which a photograph taken by Susan Meiselas during the 1979 Nicaraguan Revolution has come to be known. Famous in its Nicaraguan context as a symbol of the Sandinista revolution, it has been widely reproduced and remixed. Latterly, outside this context, it was reproduced via an internet meme based on Joy Garnett's 2003 painting "Molotov", becoming a prominent case-study of re-use of art.