Those core issues — the brevity of life, the spiral of time, the constancy of change, the cyclic aspects of history and human experience, and the enduring, unbreakable connection between humans and the natural world — weave constantly through Martha Madigan’s commentary on her own work and working method, and make themselves apparent in the work itself. […]
|
Follow me on Mastodon:
@adcoleman@hcommons.social
 |
Martha Madigan has worked almost exclusively with the photogram for the past three decades, patiently building up an extensive, interconnected body of work that has evolved into one of the most coherent and durable considerations of the photogram in the medium’s history. […] Gordin refers to his approach as “conceptual photography,” though by this he obviously means something much different from the haphazardly made, often amateurish or deliberately casual imagery generated as documentation of performances by conceptual artists since the 1970s. Carefully planned and meticulously crafted, Gordin’s images are previsualized as sketches on paper, which he then stages for the production of the negatives necessary to actualize the imagined image. […] It is from these two real observations that the story of “Bloody Omaha” was constructed and that it spread very soon after the landings: the most deadly beach overall and the shock of the first wave on certain sectors. It is by following the history of the construction of this narrative that we can understand how Capa’s famous photographs were received and interpreted, and where the (false) idea that they were taken during a terribly deadly assault, that of the first wave at Omaha Beach, came from. […] [Back in August of 2021 Patrick Peccatte introduced me, via email, to Philippe Villéger. Villéger is a member of the informal collective devoted to annotating the historic WWII images of Normandy posted online at PhotosNormandie, another internet project to which Peccatte contributes. (For more about Peccatte, Villéger, and the PhotosNormandie project, see the details at […] |
 SPJ Research Award 2014All content of this publication is © copyright 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017 by A. D. Coleman unless otherwise noted. All materials contained on this site are protected by United States copyright law and may not be reproduced for commercial purposes without prior written permission. All photos copyright by the individual photographers. "Fair use" allows quotation of excerpts of textual material from this site for educational and other noncommercial purposes.
Published by Flying Dragon LLC.
|
