Showing posts with label Egypt. Show all posts
Showing posts with label Egypt. Show all posts

7.15.2014

RICHARD GERE: Pilgrim

 Giza, 2005
Courtesy of the Gere Foundation
Photograph (c) Richard Gere  

EA: Your photograph of the Pyramids and the South Pole (not shown) are like two jewels. I’ve never seen a photograph of the Pyramids from that angle before.

Richard Gere: I was in Cairo in 2005 on the way to the Middle East to meet His Holiness in Jordan, in the ancient stone-carved city of Petra. Elie Wiesel co-hosted “The Petra Conferences” with King Abdullah II of Jordan. They brought together Nobel Prize winners with distinguished social and political leaders. His Holiness was there and I was invited to come, but on the way there I was speaking at a conference of Arab women, "Women, Creativity, and Dissidence" in Cairo, Egypt, under the aegis of the Arab Women Solidarity Association (AWSA). I was there for a couple of days and I befriended one of the key archeologists.

I asked to get to the Pyramids early in the morning. I got there in the morning at dark and waited for the light to come up. We were way out in the desert. I took a lot of pictures. Somehow it was out and around, way on another side, and I could see the Pyramids were almost lining up. When the light was coming up, all the lines were converging and I just had to move maybe ten or twenty yards over, then all the lines created these planes. I’d never seen that angle in a photograph before either.

Richard Gere is represented by the Fahey/Klein Gallery, L.A.

Richard Gere, 108 Stupas
Erdene Zuu, Karakorum, Mongolia, 1995
  Photograph (c) Elizabeth Paul Avedon

 Richard Gere and Khyongla Rato Rinpoche, Bodh Gaya, India 1987 
Photograph (c) Elizabeth Paul Avedon
AMERICAN PHOTO MAGAZINE


As I've lost most of the negatives from the photographs above and on the Gere Foundation site, click through for a last look before they disappear completely! – E.A.

A pilgrim is defined as a person who travels on long journeys. Richard Gere’s book of photographs, Pilgrim (published by Bulfinch Press, ISBN: 978-0821223222), is available from Amazon.com. All proceeds are donated to the Gere Foundation that supports humanitarian causes throughout the world. 

12.31.2012

1.06.2012

RICHARD BARNES: FlakPhoto Feature


Richard Barnes' Animal Logic
A Conversation with Elizabeth Avedon


A curator, writing about my work, described the archaeological process as akin to the autopsy, in that it is simultaneously revealing and destructive of its object of study. I like the idea in my work of coming from a place that is both ambiguous and contradictory at the same time. – Richard Barnes

4.30.2011

RICHARD GERE: Talks About Photography in La Lettre de la Photographie's Weekend Agenda

Giza, 2005
Courtesy of the Gere Foundation
Photograph (c) Richard Gere

Cairo, 2010
Courtesy of the Gere Foundation
Photograph (c) Richard Gere

I was in this old Mosque and I just turned to my left and that shot was there. All the angles were right, all the lines were moving, everything was right. All I had to do was take a half step to my left. Everything lined up and I knew that was it. That was the shot...That’s a very complicated photograph; the dark areas, light areas, white against black, black against white. It’s very complicated and that’s a very straight...digital print made for me by John Paul Caponigro at his place up in Maine. – Richard Gere, Le Journal de la Photographie 4.30.2011

Cover Photograph: Pilgrim, Zansker, 1983
Pilgrim, Bulfinch Press, 1997

Richard’s photographs from “Pilgrim” are clearly made from the heart. They are not only pictures that you are informed by – but they are images you feel. Richard’s images speak to our soul by exuding spirituality, compassion, and atmosphere. Richard’s “Pilgrim” photographs formed by his experiences, defines what he represents, and documents his social, spiritual, and cultural encounters. The underlining thread of his photographs is his fondness for the people of Tibet as well as his extraordinary ability to document the livelihood of the enduring people who reside within these unfamiliar and mysterious places with dignified simplicity. – David Fahey, Fahey/Klein Gallery

Lobsang Tenzing, Daramsala, 1981
Photograph © Richard Gere, Courtesy of Fahey/Klein Gallery, Los Angeles

Ulan Bator (The Arrival of His Holiness), Mongolia, 1995
Photograph © Richard Gere, Courtesy of Fahey/Klein Gallery, Los Angeles

Angels, Shekar Monastery, Tibet, 1993
Photograph © Richard Gere, Courtesy of Fahey/Klein Gallery, Los Angeles

There are usually three shots. If it’s a difficult light situation like this where the shutters going to be open one, two, three seconds – from my own experience of my work, one of those three is going to be the one I want. It’s not always that one is sharper than another; whatever it is, one’s going to feel right to me if I do three of them. Sometimes it’s so dark, I can’t even see it, and I’m just sensing that there’s something there. There’s one in particular I took in a Monastery. It’s these two angels that are hovering there. (Angels, Shekar Monastery, Tibet, 1993) I could barely see anything when I took that shot, but I knew that the shot was there and I knew I had to take it “now.” – Richard Gere, Le Journal de la Photographie 4.30.2011



Photography can open a doorway that can lead us into a new world, expands our horizons, and shows us exciting and challenging possibilities. Richard’s photographs allow us to engage the world and renew our perspective by reinterpreting what we think we know – leading us through that doorway. – David Fahey, Fahey/Klein Gallery

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I spoke with Richard Gere for Le Journal de la Photographie about his photographs, his book and exhibitions, and about his extensive photography collection...read the entire Interview here

Le Journal de la Photographie

11.17.2009

RICHARD BARNES: Artifactual

 from Animal Logic
Photograph (c) Richard Barnes /All Rights Reserved

 from Animal Logic
Photograph (c) Richard Barnes /All Rights Reserved

from Animal Logic
Photograph (c) Richard Barnes /All Rights Reserved


National Geographic Gallery: Photograph by Richard Barnes: A queen's pet gazelle was readied for eternity with the same lavish care as a member of the royal family. In fine, blue-trimmed bandages and a custom-made wooden coffin, it accompanied its owner to the grave in about 945 B.C. Egyptian Museum, Cairo, CG29835


National Geographic Gallery: Photograph by Richard Barnes: The embalming house for the Apis bulls, sacred animals in the great city of Memphis, survives in ruins near the village of Mit Rahina. For 40 days the body of each bull lay in natron on a massive stone bed in a courtyard where the sun could help desiccate and disinfect it.

"Photographer Richard Barnes spent more than ten years documenting the way we assemble, contain, and catalog the natural world. Barnes's behind-the-scenes photographs are haunting reminders that there is nothing natural about a natural history museum."
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RICHARD BARNES monograph ANIMAL LOGIC collects four related species of his photographic work that touch on themes relevant to science, history, archaeology, and architecture. Through his lens, sights and objects normally hidden from public view—half-installed dioramas, partially wrapped specimens, anatomical models, exploded skulls, and taxidermied animals in shipping crates—take on a strange beauty. Barnes peels back layers of artifice to reveal the tangle of artistry, craftsmanship, and curatorial decisions inside every lifelike diorama and meticulously arranged glass case. Animal Logic investigates both the human desire to construct artificial worlds for 'the wild' and the haunting and poignant worlds the real wild constructs. Barnes's camera freezes migrating starlings to reveal the visual poetry hidden inside their dense formations. His extraordinary photographs of birds' nests constructed from detritus—string, plastic, milkweed, tinsel, hair, dental floss, pine needles—sculpturally embody our often complicated relationship with nature. Animal Logic presents more than 120 of Barnes's photographs and includes essays by Jonathan Rosen of the New York Times and curator Susan Yelavich, which explore the themes that emerge from Barnes's unique body of work.