Lee Friedlander is an American photographer who primarily uses 35mm cameras as well as black and white film. Probably some of the most notable of Friedlander’s works are his 1960’s Self Portraits. Even before the popular term “selfie” was coined, he took photos of himself in inventive and experimental ways. With the use of everyday lighting, shadows, and reflective surfaces, Friedlander managed to take some outside of the box photos. 

     What’s great about his works is that even if his own person is the subject and the main focal point, he still incorporates the American social landscape of his generation in his photos. He even accomplishes to include other people in these self-portraits, which is hard to do especially if you want the viewers to know that it is in fact, a portrait of yourself. Because of this, we somehow get to view what the contemporary American culture was like back in the day as well as live Friedlander’s everyday life through his “eyes” (or camera lens for that matter). 

      His photos are not only innovative, but they also give us interesting stories. When you look at these self-portraits not only are you seeing him in the 60’s, but you are also being given a sense of how people and Friedlander himself lived. This is one of the most important aspects of a good photograph: viewers have to be able to feel and really think about what is going on in the photo. And in this case, you might get a feeling of nostalgia even if you were never around to experience that generation. That’s because he gives us his own personal interpretation on things, places, and people that encapsulated what it was like living in that era.

     Personally, I feel like Lee Friedlander is one of the pioneers who brought “experimental self portraits” into the photography scene with his creative framing and composition. And for that, more people should know of this brilliant photographer. 


- Reign Gonzales
all photos and other information are from fraenkelgallery.com

      Known for her intriguing, controversial, and provocative performance arts, Marina Abramović is definitely a living legend in the industry. Her thought-provoking and extraordinary outlook on what “art” is, will leave you in awe and wonder at just how much meaning there is to a short yet complex three-letter word. She does not play it safe. Her works are not just eye-openers but also manifestations of her own capabilities as an artist. 

     One of the most well-known performances she has done is Rhythm 0 in 1974. Abramović “tested the limits of the relationship between performer and audience” by allowing the latter to do whatever they want to the artist using certain objects that have been placed on a table. The collection of objects consisted of pieces in which could either inflict pain or pleasure to her. And so the audience went on to do what was expected of them. At first people were reluctant to act out, but as time progressed, they started to behave more violently. She was stripped naked and constantly harmed, there was even a point wherein someone pointed a loaded gun to her head. As the performance came to an end, Abramović stood up and approached the audience but no one wanted to confront her. 

     A personal favorite performance art she has done is her 2010 New York MoMA exhibit The Artist is Present, in which people are invited to sit across from Abramović and solely stare at her for as long as they please. Looking at it as a big picture, it seems to be a very easy and simple idea, not much like her previous performances throughout the years, but up close it is beyond what you can imagine and frankly the best work she has ever done so far. Her exhibit lasted for three months (March-May) daily and went on from the opening until the closing of the museum. 

     In a 2012 documentary about The Artist is Present, you can see how several people reacted to experiencing her performance. Some were calm and composed and some got a little out of hand. There is even a Tumblr blog dedicated to those who got a little teary-eyed during their time with the artist. Also, Ulay was there. 

     It’s truly amazing how much emotion people have felt and conveyed just by staring at an artist’s nearly nonchalant expression. As if by looking at a blank face, you are left with all of your own thoughts to ponder and reflect on. You start to feel all these feelings you have been avoiding or distracting yourself from and soon you’ll come to realise that you’re not as happy as you think you are. “I’m just the mirror of their own self”, Abramović says.

      The exhibit also featured re-enacted performances of her old works by younger volunteer artists as well as other memorabilia that have been significant to her career (i.e. the van in which she and Ulay lived in).

     For several years, she has gone to such extremes and tested the limits of her physical and mental state in the name of art. What she does may not be pleasing or understandable to you or to many, but you have to give such a vast amount of respect to Marina Abramović for being brave enough to push and to defy the laws of art. That is, if there is any. 

Read more about Marina Abramović on Artsy.

- Reign Gonzales
source
all photo stills are taken from Marina Abramović: The Artist is Present (2012)

     
     Quirky yet haunting; this is what I think of when Margaret Keane’s works are mentioned. I’m convinced that those big round eyes can capture your deepest darkest secrets if you stare long enough. That’s why they look so glassy and teary-eyed, as if the children can empathise with your feelings. Her works are interesting to say the least, but how she came about in the art scene and how she managed to make a name for herself is what’s most fascinating to me. Her paintings are quite captivating of course, but for a time, no one knew she was behind all those masterpieces. 

     It was in the late 50’s and early 60’s when Keane’s paintings started the so-called big eyes revolution.  Everyone was in on the hype as various merchandises featuring the artworks were sold. Though she wasn’t quite commended for her talent since her husband at the time, Walter Keane, claimed those artworks as his own for more than a decade. Showcasing “his” works in a number of galleries certainly created an empire out of this whole scheme and left Margaret behind his shadow. Walter was even considered as one of the wealthiest and most intriguing painters at that time, having “his” works displayed in collections as well as owned by famous personalities. 

     
     Come 1970, after five years of separation from Walter and several years of living in silence, Margaret Keane finally spoke up and told the public about the truth behind the big eyes paintings.  As expected, Walter denied allegations of him committing such crime while in court for slander. This led to a paint-off between the two. Walter claimed to have a shoulder injury and refused to paint, but in under an hour, Margaret had produced “Exhibit 224”, probably the most triumphant and important artwork she has ever made. So Walter was sued and she was rewarded $4 million in damages. 

     Currently in her late 80’s, Margaret still continues to paint and has recently inspired a brand new Tim Burton film entitled Big Eyes which will be out this late November. Amy Adams and Christoph Waltz will be playing the Keane couple alongside other great actors such as Jason Schwartzman and Krysten Ritter. 

     Watch the trailer: 

- Reign Gonzales
click photos for credit
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