Podcasts about Ralph Eugene Meatyard

Ralph Eugene Meatyard's series of photographs featuring his family in unexpected places and costumes are hard to describe but entirely captivating. He found inspiration for a series of photographs from a book published in 1911 by Ambrose Bierce called ‘The Devil's Dictionary.' After handling one of Meatyard's prints at Sotheby's, Aimee gets to the bottom of what these two things have in common, while discovering what demons were hard at work in old printing workshops.

Episode No. 14 of the Art Throb Podcast features Guy Mendes, a Lexington photographer who began his photographic career almost by accident.  A young transplant from New Orleans, he arrived at the University of Kentucky in 1966 hoping to become a journalist. The following year, he attended a rally to hear Wendell Berry speaking out against the Vietnam War. The two struck up a friendship that would eventually lead him to Eyeglasses of Kentucky, Ralph Eugene Meatyard's optical shop and gallery where he would hang out in hopes of getting to tag along on photographic expeditions Meatyard and his friend Robert C May would take.While at UK Guy apprenticed under the late James Baker Hall (author/ photographer/UK faculty/and former Kentucky poet laureate).  He then went on to teach photography at UK himself for 14 years. His day job was at KET, where he was an award-winning documentarian as a writer/producer from 1973 until he retired in 2008.Guy Mendes has been photographing seriously, and sometimes not so seriously for over 50 years.  His most recent exhibition was a portrait show at the University of Kentucky Art Museum in 2022. Several of his photographic works are in the current show titled CONJURE at the  Loudoun House/Lexington Art League that will run Sept 17 – October 13.  This exhibition features work by 30 members of the Lexington Camera Club with 6 guest artists – teenagers from the northside of Lexington.  It is also part of the greater exhibition of photographs in the Louisville Photo biennial that was started in 1999 by four East Market Street Galleries in Louisville and has grown to now include more than 50 photographic exhibits at venues throughout Metro Louisville, Southern Indiana and Central Ky.  The Art League and the Downtown Library are the two Lexington participants.

How you spend your time is how you live your life.    Today we talk administrative nonsense during system collapse. Rediscovering an old cache of photos. Hometown house hunting (the seller-buyer synchronicity). Reading between the signs. Lawn care character assessments. A reverse car chase leading to a door that does not open.   Phantom story arcs. Anticipating "The Moment." The sacredness of sniffing out Dog Fear. Gus projects a new mom.   "Don't listen to the worried." Life stage segues. "The Gods only listen to the horns."   Dark Rave Doppler Music. Bloated tomes. Post-Ballardian speculative fiction. Bleeding for your words. Being alert to paranoid alleys. Doing good to feel good in spite of sagging optimism. The Decoder Ring of Innocence. Tiger Beat Girl Magic. Time shifts and evading madness (the fun of complexity / the utility of simplicity). The Movement towards The "Superfice."   The Disappearing Darkrooms. Fast forwarding evolution. Getting crude with morse code. Static Billboards and Closed Casinos. Invisible Grammars vs. Transparent Jargon. The Abomination of Abbreviations. Hungry for Vision.   The joys of the feeding frenzy. Vibing with the room. Ralph Eugene Meatyard revisited. Social Physics. Losing the Process along the way. Democratizing miracles. Visual Analogies for Asymmetric Chasms. Imagery interrogation. Primitive Visualization ("in the box" thinking). Symbols vs. Emblems.   Performance as human origin. An epistemology predicated on denial and division. Uniqueness vs. repetition (the rhythms of good living). The Eye of the Sincere Tourist. Setting up Forbidden Spaces. Reverse Education (Learning to Forget). Memory as related to Character. Category-Inference. Going where the energy is. Private internal research / personal algorithms. Don't go out with a whimper.   (Thanks to Nick Spinnett for the summary)  

Are aesthetics a kind of philosophy? What is the most important photo of all time? Kris's birthday celebration, shoutout to Jay Springett, starting the day off right, The Miracle Morning, Gus encounters a passed-out junkie, Pat Murphy's Points of Departure, (JDO incorrectly states that Tea with the Black Dragon won the 1984 PKD award; it was actually The Anubis Gates; TWTBD was the runner-up), Thomas Merton, Gary Snyder's The Real Work, calamities that lead to epiphany, (the book JDO is trying to remember is Honest to God by John Robinson), Ralph Eugene Meatyard, every photograph is a self-portrait, D.H. Lawrence's paintings, the Slim Jims' Music for Tall Men Only, inclusive vs. inviting, forced limitation, “deny the veil, enjoy the view,” the Devouring Television, media creating reality, worshipping a Felix the Cat doll, the introduction of widescreen, the irreality of VHS, the return of the Third Man, what is contained in a photograph?, the most important photo of all time, repetition of imagery, the first-world sinister hug, shot-up jukeboxes in quicksand, MK Ultra Imaginative Challenge, the whim of nature, getting down in the baked beans and cream corn, pornographic thought experiment, James Dickey, the magic of guilt, and a Ben Affleck and Matt Damon dream.

“Festival du Regard“ 6ème éditionIntime & Autofictionsà Cergy-Pontoisedu 1er octobre au 21 novembre 2021Interview de Sylvie Hugues et de Mathilde Terraube, directrices artistiques du Festival du Regard,par Anne-Frédérique Fer, à Cergy-Pontoise, le 23 septembre 2021, durée 26'12.© FranceFineArt.Communiqué de presseDirection artistique : Sylvie Hugues et Mathilde TerraubeÉdito – Intime & AutofictionsL'approche autobiographique a toujours existé dans la photographie, mais elle est longtemps restée à l'arrière-plan… Si on peut considérer que la première photo de l'intime est, en 1840, l'incroyable autoportrait d'Hippolyte Bayard en noyé (protestant ainsi contre l'oubli par l'Etat de sa propre invention de la photographie), pendant longtemps la mission du photographe était de montrer le monde extérieur, d'être un témoin, un observateur, un reporter. Bien sûr on peut retrouver des traces d'intimité chez Edward Weston, dès 1935, quand il réalise des nus de Charis Wilson qui deviendra sa compagne. Mais celui qui va définitivement ancrer l'intime dans une photographie de témoignage, c'est Robert Frank dans « Les Américains », qui se clôt par une photo prise au petit matin sur une route où l'on devine sa famille endormie dans un véhicule mal garé le long de la route. Quelques figures titulaires ont définitivement fait basculer la photographie dans l'autobiographie et l'intime. On peut citer Nan Goldin et sa « ballade de la dépendance sexuelle » (1986), toute l'école japonaise issue de Nobuyoshi Araki et de Daido Moriyama, ainsi que la filiation nordique qui s'ouvre avec Christer Strömholm, s'épanouit avec Anders Petersen et se multiplie au XXIème siècle avec JH Engstrom, Jacob Aue Sobol et beaucoup d'autres… En France, l'arrivée quasi simultanée dans le sillage de Christian Caujolle de l'agence Vu d'Antoine d'Agata et de Michael Ackerman, à la fin des années 1990, ancrent définitivement le corps du photographe comme étant un élément constitutif du travail artistique. Désormais, le photographe est autant derrière l'appareil que devant, dans une sorte de dédoublement de personnalité. En accueillant dans cette édition quelques photographies emblématiques de Michael Ackerman et un film sur Antoine d'Agata, nous mettons justement en valeur ce basculement où l'intimité du photographe dialogue en prise directe avec le monde extérieur. Cette façon d'affirmer le « je » (que l'on pourrait prendre pour une forme d'égotisme quand il est mal géré) va aussi permettre de renouveler et de revivifier la photographie créative. En se rapprochant d'une forme de narration, les « mises en scènes » de l'intime vont devenir le pendant photographique de ce que l'on nomme en littérature « l'autofiction ». Ce genre mal défini nous a paru intéressant à mettre en parallèle avec la notion de l'intime photographique. Comment se dévoiler sans aller trop loin ? Comment faire de sa propre personne un personnage « extérieur » ? Comment éviter le piège de l'autocongratulation ou de l'autoflagellation ? Comment trouver la bonne distance quand on est à la fois l'auteur et l'acteur, le sujet et l'objet ? Mais surtout comment mêler fiction et réalité dans ce qui est à la fois une création artistique et un témoignage documentaire ?Sylvie Hugues et Mathilde Terraube, Directrices artistiques du Festival du RegardLes lieux et les expositions -> À l'ancienne poste• Alberto Garcia Alix : De donde no se vuelve• Jen Davis : Eleven Years, et sa suite Stephen and I• Marc Riboud et Catherine Chaine : Clémence• Patrick Taberna : Autres journées• Eva Rubinstein : Elégies• Lolita Bourdet : Plamondon• Marilia Destot : La Promesse• Sylvia Ney : De l'autre côté de l'eau• Patrick Cockpit : Franco et moi• Franck Landron : Ex Time• Kourtney Roy : Enter as Fiction• Robert Doisneau : Meilleurs voeux• Deanna Dikeman : Leaving and waving• L'intime et l'autofiction vus par : Hippolyte Bayard, Araki, Lucienne Bloch, Miroslav Tichý, Ralph Eugene Meatyard, Michael Ackerman et une sélection de tirages du XIXème.• Projections des court-métrages de Kourtney Roy et des films documentaires de Franck Landron (Limite(s) d'Antoine d'Agata et Un flirt photographique sur l'oeuvre de Claude Nori)-> Sur la place des arts• Exposition Bambino (le Festival du Regard à destination du jeune public) Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Emily Johnston is an artist and photographer whose work takes her around the world exploring the intimate landscapes of our relationships to each other and to our environments. In this episode of the Our Nature Podcast, Emily shares how the mystery of the natural world has been a source of consistent exploration for her art and for her life. From growing up in Paris to living in New York City and finally finding a home in upstate NY, Emily’s journey is one of curiosity, creativity and a perpetual dialogue with nature. Her Ash Drawing series wherein she scattered ash from communal fires out onto the snow explores the significance of ritual, impermanence, memory, and presence. This episode is inspiring for anyone who has looked to nature for inspiration and collaboration. We’re all artists and creators engaging in some sort of conversation with the natural world. This is Emily’s story. I hope you enjoy it! Resources: Ralph Eugene Meatyard Sally Mann Ash Drawing Series - Emily Johnston Island of Iona On Being with Joanna Macy Connect with Emily Johnston: Emily Johnston’s Website * Emily Johnston’s Instagram Connect with The Our Nature Podcast: Follow Our Nature on Instagram Gratitude List: This podcast would not be possible without the group of talented individuals below. I offer them my sincerest thanks and love. Produced by: Kevin Aguirre Buitrago and Will Wells Graphics by: Tim LaSalle Music by: Nick Ceglia Support The Our Nature Podcast: Subscribe!: Apple podcasts Stitcher Google Play Spotify Leave a review!: Click on the podcast app Search for the Our Nature Podcast Click on the show art Click the “Subscribe” button Scroll down and click “Write a Review” Write your review, click 5 stars :) and then click “send” - your review will typically appear in 24 hours Thank you! You just made my day Spread the word!: Please follow @ournaturepodcast and share with family, friends, lovers, strangers, social friends. COMPLETE SHOW NOTES What it was like for Emily to grow up in Europe and her relationship to nature as a child Sources of early inspiration for Emily when she lived in the city and how she began to develop a dialogue with the natural world How the work of Ralph Eugene Meatyard and Sally Mann influenced her photography How growing up in a religious community shaped how Emily began to view the world On moving to New York and creating collages using photographs, National Geographic magazines and gold foil wrappers from Mast Brothers chocolates How spending three months in the Catskills turned into a permanent move Upstate How being in upstate NY helped her reconnect with her inner voice and inspired her Ash Drawing series How rituals inspired the Ash Drawing series and how it became an ongoing auto-biographical series Reactions to the Ash Drawing series and what people see in her work How her work has shaped her experience of the natural world What is means to record the intimate landscapes of our relationships to each other and to our environments Her latest project, a portrait of the island of Iona The inevitability of grief in our relationship with nature and how we must confront the reality of what we’ve done to our environment The last five questions with Emily Johnston THE LAST 5 QUESTIONS: What is your favorite place in nature? Canyons. What is the animal, mineral or plant that resonates with you the most? Wood...trees. What is one thing we can do right now to connect with the natural world and bring more harmony into our lives? I think stop and slow down and breathe the air we’re breathing consciously. What’s the greatest lesson nature has taught you? That I’m a being that’s a part of something and not separate from what’s around me. Nature brings me… Joy.

Barry Magid, MD, is a psychoanalyst in private practice in New York City. He received Dharma Transmission from Charlotte Joko Beck in 1998 and has been teaching Zen at the Ordinary Mind Zendo for the past twenty years. In addition to co-editing “What’s Wrong with Mindfulness (And What’s Not) with Bob Rosenbaum, he is the author of three books integrating Zen and psychoanalytic theory and practice: "Ordinary Mind"; "Ending the Pursuit of Happiness", and "Nothing is Hidden” all published by Wisdom Publications. He has also edited (with Hugh Witemeyer) a volume of the correspondence of poets William Carlos Williams and Charles Tomlinson, as well as "Father Louie: Photographs of Thomas Merton by Ralph Eugene Meatyard,"  and “Freud’s Case Studies: Self Psychological Perspectives.” 

Nude Reagan (Spurl Editions, 2016) is John Brian King’s second book of photography. His first book, LAX: Photographs of Los Angeles 1980-84, was published by Spurl Editions in 2015. For his most recent book, King photographed twenty-three nude female models with a Fujifilm Instax Mini 8 camera in an empty Palm Springs office space. Each model wore the same Ronald Reagan mask, striking any pose she liked. Deliberately unsettling, these photographs depict Reagan as a demon and specter haunting the modern world. Evoking the dead conservative president, the models wear the hideous dark-eyed mask anemic and wrinkled and morph into unerotic, freakish wraiths. The colors of the photographs accentuate these figures’ eerie qualities: the camera’s unpredictable flash turns the bland office backdrop alternately into a mold green, a muddy gray, a brilliant white, or a dense, all-encompassing black setting. The womens’ shadows are sometimes starkly present, and at other times disappear. King was influenced by such disparate sources as Conrad Veidt’s The Man Who Laughs; Reagan’s own frozen, Brylcreem-lathered countenance; artist Maurizio Cattelan’s sardonic approach to politics in art; and Ralph Eugene Meatyard’s Southern Gothic photographs of masked children. JOHN BRIAN KING is a Los Angeles native who graduated with a degree in photography from the California Institute of the Arts. He designed the film titles for over thirty films, including Boogie Nights, Punch-Drunk Love,and The Ring. He wrote and directed the feature film Redlands, an examination of creativity and horror in relation to photography. His book LAX: Photographs of Los Angeles 1980-84 was featured in the Los Angeles Times, Slate, Impose Magazine, LCeil de la Photographie, Yet Magazine, It’s Nice That, AnOther Magazine, and more. Nude Reagan is available through Spurl Editions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nude Reagan (Spurl Editions, 2016) is John Brian King’s second book of photography. His first book, LAX: Photographs of Los Angeles 1980-84, was published by Spurl Editions in 2015. For his most recent book, King photographed twenty-three nude female models with a Fujifilm Instax Mini 8 camera in an empty Palm Springs office space. Each model wore the same Ronald Reagan mask, striking any pose she liked. Deliberately unsettling, these photographs depict Reagan as a demon and specter haunting the modern world. Evoking the dead conservative president, the models wear the hideous dark-eyed mask anemic and wrinkled and morph into unerotic, freakish wraiths. The colors of the photographs accentuate these figures’ eerie qualities: the camera’s unpredictable flash turns the bland office backdrop alternately into a mold green, a muddy gray, a brilliant white, or a dense, all-encompassing black setting. The womens’ shadows are sometimes starkly present, and at other times disappear. King was influenced by such disparate sources as Conrad Veidt’s The Man Who Laughs; Reagan’s own frozen, Brylcreem-lathered countenance; artist Maurizio Cattelan’s sardonic approach to politics in art; and Ralph Eugene Meatyard’s Southern Gothic photographs of masked children. JOHN BRIAN KING is a Los Angeles native who graduated with a degree in photography from the California Institute of the Arts. He designed the film titles for over thirty films, including Boogie Nights, Punch-Drunk Love,and The Ring. He wrote and directed the feature film Redlands, an examination of creativity and horror in relation to photography. His book LAX: Photographs of Los Angeles 1980-84 was featured in the Los Angeles Times, Slate, Impose Magazine, LCeil de la Photographie, Yet Magazine, It’s Nice That, AnOther Magazine, and more. Nude Reagan is available through Spurl Editions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nude Reagan (Spurl Editions, 2016) is John Brian King’s second book of photography. His first book, LAX: Photographs of Los Angeles 1980-84, was published by Spurl Editions in 2015. For his most recent book, King photographed twenty-three nude female models with a Fujifilm Instax Mini 8 camera in an empty Palm Springs office space. Each model wore the same Ronald Reagan mask, striking any pose she liked. Deliberately unsettling, these photographs depict Reagan as a demon and specter haunting the modern world. Evoking the dead conservative president, the models wear the hideous dark-eyed mask anemic and wrinkled and morph into unerotic, freakish wraiths. The colors of the photographs accentuate these figures’ eerie qualities: the camera’s unpredictable flash turns the bland office backdrop alternately into a mold green, a muddy gray, a brilliant white, or a dense, all-encompassing black setting. The womens’ shadows are sometimes starkly present, and at other times disappear. King was influenced by such disparate sources as Conrad Veidt’s The Man Who Laughs; Reagan’s own frozen, Brylcreem-lathered countenance; artist Maurizio Cattelan’s sardonic approach to politics in art; and Ralph Eugene Meatyard’s Southern Gothic photographs of masked children. JOHN BRIAN KING is a Los Angeles native who graduated with a degree in photography from the California Institute of the Arts. He designed the film titles for over thirty films, including Boogie Nights, Punch-Drunk Love,and The Ring. He wrote and directed the feature film Redlands, an examination of creativity and horror in relation to photography. His book LAX: Photographs of Los Angeles 1980-84 was featured in the Los Angeles Times, Slate, Impose Magazine, LCeil de la Photographie, Yet Magazine, It’s Nice That, AnOther Magazine, and more. Nude Reagan is available through Spurl Editions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nude Reagan (Spurl Editions, 2016) is John Brian King’s second book of photography. His first book, LAX: Photographs of Los Angeles 1980-84, was published by Spurl Editions in 2015. For his most recent book, King photographed twenty-three nude female models with a Fujifilm Instax Mini 8 camera in an empty Palm Springs office space. Each model wore the same Ronald Reagan mask, striking any pose she liked. Deliberately unsettling, these photographs depict Reagan as a demon and specter haunting the modern world. Evoking the dead conservative president, the models wear the hideous dark-eyed mask anemic and wrinkled and morph into unerotic, freakish wraiths. The colors of the photographs accentuate these figures’ eerie qualities: the camera’s unpredictable flash turns the bland office backdrop alternately into a mold green, a muddy gray, a brilliant white, or a dense, all-encompassing black setting. The womens’ shadows are sometimes starkly present, and at other times disappear. King was influenced by such disparate sources as Conrad Veidt’s The Man Who Laughs; Reagan’s own frozen, Brylcreem-lathered countenance; artist Maurizio Cattelan’s sardonic approach to politics in art; and Ralph Eugene Meatyard’s Southern Gothic photographs of masked children. JOHN BRIAN KING is a Los Angeles native who graduated with a degree in photography from the California Institute of the Arts. He designed the film titles for over thirty films, including Boogie Nights, Punch-Drunk Love,and The Ring. He wrote and directed the feature film Redlands, an examination of creativity and horror in relation to photography. His book LAX: Photographs of Los Angeles 1980-84 was featured in the Los Angeles Times, Slate, Impose Magazine, LCeil de la Photographie, Yet Magazine, It’s Nice That, AnOther Magazine, and more. Nude Reagan is available through Spurl Editions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Nude Reagan (Spurl Editions, 2016) is John Brian King’s second book of photography. His first book, LAX: Photographs of Los Angeles 1980-84, was published by Spurl Editions in 2015. For his most recent book, King photographed twenty-three nude female models with a Fujifilm Instax Mini 8 camera in an empty Palm Springs office space. Each model wore the same Ronald Reagan mask, striking any pose she liked. Deliberately unsettling, these photographs depict Reagan as a demon and specter haunting the modern world. Evoking the dead conservative president, the models wear the hideous dark-eyed mask anemic and wrinkled and morph into unerotic, freakish wraiths. The colors of the photographs accentuate these figures’ eerie qualities: the camera’s unpredictable flash turns the bland office backdrop alternately into a mold green, a muddy gray, a brilliant white, or a dense, all-encompassing black setting. The womens’ shadows are sometimes starkly present, and at other times disappear. King was influenced by such disparate sources as Conrad Veidt’s The Man Who Laughs; Reagan’s own frozen, Brylcreem-lathered countenance; artist Maurizio Cattelan’s sardonic approach to politics in art; and Ralph Eugene Meatyard’s Southern Gothic photographs of masked children. JOHN BRIAN KING is a Los Angeles native who graduated with a degree in photography from the California Institute of the Arts. He designed the film titles for over thirty films, including Boogie Nights, Punch-Drunk Love,and The Ring. He wrote and directed the feature film Redlands, an examination of creativity and horror in relation to photography. His book LAX: Photographs of Los Angeles 1980-84 was featured in the Los Angeles Times, Slate, Impose Magazine, LCeil de la Photographie, Yet Magazine, It’s Nice That, AnOther Magazine, and more. Nude Reagan is available through Spurl Editions. Learn more about your ad choices. Visit megaphone.fm/adchoices

In today’s May 25th edition of Photo History Summer School, we note the birth dates of the avant garde Cech photographer Jaroslav Rossler and the oddly surrealistic American photographer Ralph Eugene Meatyard as well as the anniversary of the death of the preeminant war photographer Robert Capa. Some images by Rossler, Meatyard and Capa: svgallery=meatyardrosslercapa

Another in an irregular series of suggestions for the photographic bookshelf. My selection this time is the Aperture monograph of the work of Ralph Eugene Meatyard, but you may substitute that one book that made you realize new and different things about your medium; that changed your ideas about what photography could be. I also … Continue reading Camera Position 35 : Bookshelf #2 →