MUSÉE 29 – EVOLUTION
Evolution explores the concepts of progress, transformation, growth, and advancement in an age when images are taking a dramatic shift in the role they play in our lives.
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In this article from our 20th Issue, Motion, we reflect on the work of poetic photographer Louis Stettner, and his beautiful Les Alpilles series.
I did research looking through human rights reports. Some of the strikes are repetitive, but some strikes are much more telling and have personal details that humanize it. Residential homes, religious schools, wedding convoy or a funeral being hit bugged me. There have been hundreds of these strikes and I picked out ones that have a human hook to them.
My notebooks are filled with ideas for new works. One or two will surface as I scan them from time to time. Sometimes an idea appears in my notebooks several times over the years in slightly different forms, until the work is finally ready to be created.
My real start when was when my party photos caught Anna Wintour’s attention in 1997. She offered me a contract on the spot. I spent the following years on the jet-set party circuit capturing snaps of socialites and celebrities for Vogue. The job offered me a rare opportunity to create an anthropological study of high society at its most uninhibited.
It is the struggle flesh is heir to. Particularly female flesh! Aren't we all a paradoxical mix of these qualities? I always felt women needed to claim their right to equality not by being more like men, but by being fully themselves. The feminine qualities of being have been undermined for so long.
Two of your pieces, Mr. Realistic (Keeping America Clean) (2014) and Builder Destroy (Acid God) (2013), depict a person inhabiting a trash covered, post-apocalyptic environment. Where did the idea for this world come from? Is it a version for our own world? Is it an omen for the way we mistreat our environment?
1. Your Aristocracy series shows private jets crashing as a thing of beauty. You create structure from chaos, order from disorder. Do you consider yourself a revolutionary?
I don’t think of myself in terms that have political connotations. I take photographs and do what I want – I try to say through a photograph the things I wish to express.
I started taking pictures when I was a student in art school in France, in the mid-80s. My first influences were the American Minimalists. My first photographs were photographs of light, mirrors, and transparent objects.
You started taking the photographs that became Vector Portraits in 1989. When you started this series what ideas were you concerned with and where did you imagine that this series would lead you?
Tim Walker's photographs have entranced the readers of Vogue, month by month, for over a decade. Extravagant staging and romantic motifs characterise his unmistakable style.
Born in Lima, Ohio, in 1956, Ann Hamilton received a BFA in textile design from the University of Kansas in 1979 and an MFA in sculpture from the Yale School of Art in 1985. From 1985 to 1991, she taught on the faculty of the University of California at Santa Barbara. Hamilton has served on the faculty of The Ohio State University since 2001, where she is a Distinguished University Professor in the Department of Art.
Hassan Hajjaj's photographs are overflowing with dualities, a result of a blending of Moroccan and British culture that has given him and his work a distinct, multicultural identity. Born in 1961 in Larache, Morocco, Hajajj moved to London in 1975 at the age of thirteen. Thousands of Moroccans had immigrated to Western Europe throughout the French occupation of the country in the first half of the twentieth century.
