I am honored to have Collaboration: A Potential History of Photography receive an award from The Center for Photography at Woodstock for Photobook of the Year! I’m extremely happy to have been present among other awards recipients Nan Goldin, An-My Lê, and Keisha Scarville. Thank you so much CPW for the honor, and gratitude always to  Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, Laura Wexler (who was there with me in person) for their work on our book.

Thank you to James Casebere for the photograph!

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What Does It Mean to Collaborate in Photography?

By Yxta Maya Murray

“As Collaboration reveals, photography is a wide-ranging practice of joint creation. This discipline ranges from the felicitous exchanges between the Countess of Castiglione and Pierre-Louis Pierson to the dominance and opposition that activates Migrant Mother, Napalm Girl, and Marc Garanger’s arrogations; to the communal imaginings of Ewald, Dixon, Stallard, the Fraziers, Public Lab, and Southern Gulf community members—and also to the viewers and writers who insist on cocreating photographs with their perceptions and critique.”

Read more here

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A radical new history of photography from a team of esteemed writers and thinkers that focuses on the complex collaborations between photographer and subject.

Collaboration: A Potential History of Photography  is a groundbreaking publication, by five great thinkers and practitioners in photography, in collaboration with hundreds of photographers, writers, critics, artists, and academics. This collection uses the lens of collaboration to challenge dominant narratives around photographic history and authorship. Working with an accumulation of more than six hundred photographs, each entry breaks apart photography’s “single creator” tradition by bringing to light tangible traces of collaboration—the various relationships, exchanges, and interactions that occur in the making of any photograph and in the shaping, undoing and transforming archives.

The book explores themes such as coercion and cooperation, friendship and exploitation, shared interests and competition, and rivalry or antagonistic partnership. Collaboration foregrounds key issues facing photography, including gender, race, and societal hierarchies/divisions—and their role in shaping and reshaping identities and communities, and provoking resistance or conformity.

The photographs are presented alongside quotes, testimonies, and short texts offering perspectives on the array of themes, geographies, contexts, and events. The editors introduce each cluster of projects by providing a framework to understand and decode the complex politics, temporalities, and potentialities of photography. Collaboration reconstructs the infrastructure of photography as a collaborative practice and offers a pedagogical tool for practitioners and scholars of photography.

Available in English from Thames & Hudson on February 6th, 2024 and available now in French from Delpire & Co

“[An] excellent challenge to the ‘single creator’ view of photography… The collection also astutely illustrates how photography—even when ostensibly deployed to oppress—can subtly critique power structures and dominant cultural narratives… Enriched by the volume’s incisive social commentary, these striking images leave a mark.” –  Publishers Weekly

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This book brings together Ewald’s original project with new work made in collaboration with fifteen young Mexican Americans living in Chicago, coordinated with the help of Centro Romero, an immigrant service organisation. These images respond to many of the same subjects as those by Ewald’s 1990s students, with an emphasis now on capturing inner lives and dreams as a way of reckoning with the unvoiced experiences of immigration. The themes of restriction and self-reflection that emerged from this new work were intensified by being made in part under COVID lockdown. Together, the Chiapas and Chicago projects trace the differences between growing up in different Mexican geographies with diverse histories, while reflecting on to the joys and sorrows of childhood.

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A revised and expanded edition of Portraits and Dreams, published by MACK Books, offers access to a different and broadened view of the rural south over the span of 35 years, and includes contemporary pictures and stories by eight of the students from the original publication.

“A unique vision of the rural south: one where imagination is uninhibited, aspiration is untainted by economic realities, and where the adults — tired, covered in coal dust, distinctly not Dolly Parton — seem to live in a parallel universe.” – The Financial Times

“Encouraged by Ewald to delve into their dreams, the children return from sleep with visions as dark as as a Grimms’ fairy tale: of killing a best friend, or of a brother buried under a woodpile. But it’s the revelations of waking thoughts that truly disturb.” – Andrea K. Scott, The New Yorker

“This new version […] brings new life to what is already considered to be a masterpiece.” – The Washington Post

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A companion book has been published by MACK Books.

Portraits and Dreams, “revisits photographs created by Kentucky schoolchildren in the 1970s and the place where the photos were made. The film is about the students, their work as visionary photographers, and the lives they have led since then, as well as the linkages of personal memory to the passage of time.”

Watch the trailer below.

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Please use the online booking or call the gallery to schedule your visit

*The gallery is open by appointment and by chance from Tuesday to Saturday from 11am-5pm. 

To schedule a visit please use stephenbulgergallery.appointlet.com or call the gallery at 416.504.0575.

For more information about the gallery’s new procedures visit bulgergallery.com

The gallery is honoured and excited to announce its representation of Wendy Ewald. In advance of a larger survey exhibition, we’re presenting a selection of her work made in Kentucky, Mexico and Durham, North Carolina to coincide with the release of Portraits and Dreams, a documentary film she co-directed with Elizabeth Barret, as well as a book of the same title, published by MACK.

For over forty years Wendy Ewald has collaborated in art projects with children, families, women, and teachers in Labrador, Colombia, India, South Africa, Saudi Arabia, Holland, Mexico, and the United States. Starting as documentary investigations of places and communities, Ewald’s projects probe questions of identity and cultural differences. In her work with children she encourages them to use cameras to record themselves, their families, and their communities, and to articulate their fantasies and dreams. Ewald herself often makes photographs within the communities she works with and has the children mark or write on her negatives, thereby challenging the concept of who actually makes an image, who is the photographer, who the subject, who is the observer and who the observed. In blurring the distinction of individual authorship and throwing into doubt the artist’s intentions, power, and identity, Ewald creates opportunities to look at the meaning and use of photographic images in our lives with fresh perceptions.

Wendy Ewald has received many honors, including a MacArthur Fellowship, a Guggenheim fellowship, and grants from the National Endowment for the Arts, The Andy Warhol Foundation, the Rauschenberg Foundation, and the Fulbright Commission. She was also a senior fellow at the Vera List Center for Art and Politics at the New School from 2000-2002. She has had solo exhibitions at the International Center of Photography in New York, the Center for Creative Photography in Tucson, the George Eastman House in Rochester, Nederlands Foto Institute in Rotterdam, the Fotomuseum in Wintherthur, Switzerland, the Corcoran Gallery of American Art, and The Queens Museum among others. Her work was included in the 1997 Whitney Biennial. She has published twelve books, her fifth, a retrospective documenting her projects entitled Secret Games, was published by Scalo in 2000. Two books were published in 2005. A third, To The Promised land was published in 2006 to accompany an outdoor installation in Margate, England with “new starts” and refugees commissioned by ArtAngel. She was an artist in residence at Amherst College for eleven years where she taught the class, Collaborative Art: The practice and theory of working with communities since 2005. Her latest book, This Is Where I Live, which maps Israel/Palestine through 14 different communities, was published by MACK in 2015 in conjunction with a traveling exhibition, “This Place”.  America, Border, Culture, Dreamer a collaboration with young immigrants to the US was published by Little, Brown in Fall 2018 to accompany a public art installation in Philadelphia.

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The auction features artworks by Carrie Mae Weems, Stephen Shore, Sally Mann, Susan Meiselas and others. During our event on the 28th you’ll be able to see and bid on available artworks, meet some of the featured artists, and hear remarks from Wendy Ewald and Katy Homans. Online bidding begins on March 15th and runs through March 30th at 5pm, and a selection of the works will be on view at Steven Kasher Gallery March 20–30. With your help Teaching and Learning through Photography: Tanzania will become an integral part of the curriculum in education for student teachers at the University of Dodoma in Tanzania.

https://www.tltp-tanzania.com/

Reception
Wed, March 28, 2018 6:00 PM – 8:00 PM
Steven Kasher Gallery 515 West 26th Street 2nd Floor
New York, NY 10001

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Their images and writings, together with Wendy’s, created the book This Is Where I Live. 

Explore Wendy’s process and the evolution of the project in a conversation with Charlotte Cotton at this-place.org …

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BOMB: Artists in Conversation presented a conversation between Wendy and translator Esther Allen. Read the full interview here …

Esther Allen: Let’s go back to the beginning. How did your particular approach to photography develop?

Wendy Ewald: In Detroit, at the turn of the twentieth century, my grandfather H.T. Ewald was a teenager working for a shipping company on the Detroit River. He came up with the idea that one could use images as well as words to advertise their services. At that time, there was no such thing as advertising as we know it; there were handbills with words and maybe some little pictures. My grandfather’s ideas about advertising matured along with the new and booming American auto industry. He invented roadside billboards. By the 1930s his ad agency, Campbell-Ewald, was the largest in the world.

There were photographs all over our house. They were taken by professionals who worked for my grandfather. Whenever a new photo technology appeared, we got it. From the time I was born until I graduated from high school in 1969, my mother was taking photographs with a stereo camera. Taking photographs was something we liked to do but nobody was delving into what any of it might mean, apart from its sentimental value.

Read more …

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