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29th Annual ICP Infinity Awards: Young Photographer Recipient Kitra Cahana

Posted By Administration, Tuesday, May 7, 2013
Updated: Wednesday, November 6, 2013

ICP's Infinity Awards were inaugurated in 1985 to bring public attention to outstanding achievements in photography by honoring individuals with distinguished careers in the field and by identifying future luminaries.


The awards ceremony is ICP's primary fund-raising benefit, and the revenues generated assist the full range of ICP's programs, including exhibitions, collections, community outreach, and the School at ICP.


Kitra Cahana is the 2013 recipient of the Young Photographer award; she is a documentary and fine art photographer whose work explores important social, anthropological, and spiritual themes. Born in Miami, but raised in Canada and Sweden, Kitra earned her BA in Philosophy from McGill University and her MA in Visual and Media Anthropology from the Freie Universitat in Berlin.


As a documentary photographer, Kitra embeds herself in communities around the globe, often for years at a time, in order to learn the language of her subjects. She has chronicled the daily lives of teens at a Texas high school, told the story of a Venezuelan cult, followed a group of nomadic youth across the United States, bringing images to the covers of National Geographic and The New York Times

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More information on this story here


Kitra Cahana's website


Additional information on the artist at Time Lightbox

 

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Photojournalist Benoît Gysembergh Dies at 58

Posted By Administration, Tuesday, May 7, 2013
Updated: Wednesday, November 6, 2013

Gentleman Photographer passes of complications from cancer.


On Friday, May 3, Paris Match reporter Benoît Gysembergh died of complications from cancer. His work lives on in the images he has left and the memory of his vigor for image-making. "Photos live for two things," wrote Benoît Gysembergh, "The first is the istant where the finger pushes the shutter. The perfect moment, the alchemie of the shadow and of the light, the colors of a geste, of a glance. The second, is to have them published" (Le Monde). Gysembergh went on in his own words to describe the great thrill and prestige of having work published on a full page, or best of all, a spread of two pages in Paris Match. In his life over 500 double pages were published in Match.

Gysembergh discovered photography in high school when a supervisor lent him a Leica. He would later travel to Paris from his home in Normandie to work. There he met Léon Herschtritt, who was both a photographer for Nouvel Observateur and ran a café in the 9th arrondissement of Paris. Gysembergh worked behind the counter, displaying his first photographs on the café walls, and was introduced to regulars like Robert Doisneau, Jeanloup Sieff and Henri Cartier-Bresson.

Gysembergh would go onto work for Paris Match in its golden age and travel to the front lines of conflicts around the world. He knew every front and embassy around the world and worked on the front lines in El Salvador, Nicaragua, Lebanon, Chad, Somalia, Ex-Yugoslavia, Rwanda, and Cambodia. Between wars, he would dig into political issues, expose varied light onto stories, or disappear for a long trip in an uncharted region of the planet.

Complete story in Le Monde

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MOCA Board Gains 3 New Trustees

Posted By Administration, Monday, April 15, 2013
Updated: Wednesday, November 6, 2013
The Museum of Contemporary Art in Los Angeles announced Wednesday that it has added three people to its board of trustees. Their election comes at a still-vulnerable time for the museum, which has been dealing with financial problems in recent years.

Among the new trustees is Bruce Karatz, former chairman and chief executive of KB Home. Eli Broad, who was a founder of the home-building company, is a founding chairman and life trustee of the museum. Karatz's wife, Lilly, is also a MOCA trustee.

Full story in the LA Times

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MOCA Independence

Posted By Administration, Thursday, March 28, 2013
Updated: Wednesday, November 6, 2013

Endowment Campaign Hopes to Keep the LA Museum Whole


After weeks of discussion, rumors and proposals at mergers the museum announces a campaign to stay solo.
Recap of recent events and articles on this story

 


MOCA fundraising effort aims high
The ailing museum announces a campaign to raise $100 million for its endowment, much of it from trustees.

By Mike Boehm, Los Angeles Times
March 26, 2013

L.A.'s Museum of Contemporary Art has set a goal of building its endowment to $100 million, as it tries to outgrow the financial vulnerability that has dogged it for more than a decade. Already, the museum says, it has commitments from its board that would lift its endowment past $60 million.

Word of the new pledges follows the announcement by the MOCA board last week that it would keep the museum independent and step up efforts to raise money, effectively rejecting an offer to be absorbed into the Los Angeles County Museum of Art.

LACMA Director Michael Govan had presented a takeover offer at the request of some MOCA trustees that called for keeping MOCA's name and its two downtown buildings, while raising $100 million.

MOCA's Tuesday announcement said that the new commitments to the endowment came in over the last two weeks. It wasn't immediately clear how much was pledged, who the donors are, or what the timetable might be for receiving the pledges or for completing the campaign.

Endowments are piles of money held solely to be invested, with the principal from the original donations left untouched, but the investment proceeds available to be pumped into an organization's regular operations.

A 5% annual withdrawal is typical, so a $100-million endowment could mean $5 million a year in spendable income for MOCA. That would cover up to about 30% of its annual needs, based on spending in recent years.

Full Article at Mutual Arta

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Community Standard

Posted By Administration, Wednesday, March 20, 2013
Updated: Wednesday, November 6, 2013

Facebook Sensors the Galerie Nationale du Jeu de Paume


Due to infringement to Facebook's "community standards" the social network giant removed a 1940's image from the museum's site and disabled their account for 24 hours. This marks another chapter of censorship for Facebook, who only last summer censored a Gerhard Richter nude on the Pompidou Center's page. The standard seems, particularly to artists, museums, and cultural consumers to be unbalanced and even potentially destructive. 

Facebook allows for images of nude sculptures and paintings but not photographs. First, we are left to wonder why allow some representations of the unclothed figure and not all? In what to Facebook must seem to be a Pandora's box we have to follow-up and ask if Facebook is indeed so omnipresent and so global, then how could this single company aim to represent and regulate a single "community." If they wish instead to make the community both singular and global then we need to ask and evaluate its ethics.

When it comes to the figure, the nude, and art it would seem that institutions of merit, history, and standard should be the leading voices of taste and even acceptability. With the world at our fingertips, and imagery savory or not also therein, perhaps Facebook should indeed allow these leaders of culture to display the human form. Perhaps museums should be among the leading voices of the visual aesthetics of Facebook's "community standard." 

The body is not an object of shame, but certainly it can be. One could argue that advertisements are not only more omnipresent in our lives than art but that they also offer more suggestive, degrading, even lude depictions of figures- female and male. Why allow one in our community and not the other? Why allow the glorification of the hollow shell of seduction and not the celebratory vision of the body through art? When it comes to shaping the world view on the body, something we all have, it seems that our cultural leaders are among the best to guide the future "community standard."

For more information on this story please visit BlouinARTINFO

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