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【美国】尼尔·斯莱文:团体与秩序(Neal Slavin: Group and Gatherings)

添加时间:2018年08月21日 访问次数:


人物介绍:

 尼尔·斯莱文(Neal Slavin)是世界知名的摄影师和电影导演。在他40多年的职业生涯中,作品产出源源不断。期间,他拍摄了大量人物,包括史蒂文·斯皮尔伯格(Steven Spielberg),哈里森·福特(Harrison Ford),芭芭拉·史翠珊(Barbra Streisand)和菲尔·柯林斯(Phil Collins)等名人。1993年,斯莱文受委托为克林顿总统和夫人拍摄照片,用以制作首张官方圣诞贺卡。

 

 斯莱文还以拍摄集体照而闻名,这是他职业生涯中的一个重点。他著名的摄影书籍包括《葡萄牙与玛丽麦卡锡后记》(纽约拉斯特鲁姆出版社出版),《两个或更多的人在一起》(纽约法劳·斯特劳斯·吉罗出版社出版)和《英国人》(纽约安德烈多伊奇伦敦光圈出版社出版)。

 

 斯莱文的作品遍布世界各地的个人展和团体展,他的作品由纽约劳伦斯米勒画廊代理,曾在纽约国际摄影中心和英国国家科学与媒体博物馆举办的“英国人个展”中展出。他还曾在巴黎的东京万国宫举办过一次回顾展,并于2015年在法国著名的雷纳康特雷斯和博洛尼亚的工业摄影双年展上展出作品。近期他举办了两场个展:2016年,在纽约举办了劳伦斯·米勒画廊个展,2017年,在佐治亚州举办了辛辛那提艺术博物馆和泰尔费尔博物馆个展。

斯莱文在普罗旺斯阿尔勒国际摄影节、库珀联盟、曼哈顿维尔学院、视觉艺术学院和纽约市立大学皇后学院开办过课程和研讨会,此外,他还在芝加哥艺术学院担任过客座艺术家,并在约塞米蒂国家公园的安塞尔·亚当斯工作室执教过几年。目前他在纽约工作室为佩斯大学和国际摄影中心学生教授联合课程,并在那里举办私人研讨会。

 

 Artist Bio:

 Neal Slavin is a world-respected photographer and film director. His work encompasses a professional career of over 40 years, during which he has photographed a myriad of subjects including such celebrities as Steven Spielberg, Harrison Ford, Barbra Streisand, and Phil Collins. He was asked to create the photograph of President and Mrs. Clinton for their first official Christmas card in 1993.

 He is also known for his group portraits, which have been a significant focus throughout his career. His well-known photographic books include Portugal with an Afterword by Mary McCarthy (Lustrum Press/NY), When Two or More Are Gathered Together (Farrar, Straus & Giroux/NY) and Britons (Andre Deutsch/London & Aperture/NY).

 Slavin shows in both individual and group venues throughout the world and is represented by the Laurence Miller Gallery in New York. His work has been featured in the solo exhibition Britons at New York’s International Center of Photography and England’s National Science and Media Museum. He has also been honored with a retrospective exhibition at the Palais de Tokyo in Paris and has been shown at the famous Les Rencontres D’Arles in France and at the Foto/Industria Biennale in Bologna in 2015. His most recent solo shows were at the Laurence Miller Gallery in New York in 2016 and, in 2017, at the Cincinnati Museum of Art and the Telfair Museums in Georgia.

 His teaching credentials include classes and workshops at Les Recontres d’Arles in Provence, The Cooper Union, Manhattanville College, The School of Visual Arts, The City University of New York at Queens College as well as serving as a visiting artist at the Art Institute of Chicago and teaching for several summers at the Ansel Adams Workshop in Yosemite National Park. He is currently teaching a special combined class for Pace University and the International Center of Photography at his studio in New York City where he also gives private workshops.


 

展览前言:

 我摄影师生涯中一个非常重要的时刻就是观看童子军合影。四排小男孩站在那,他们穿戴着相同的徽章和领结;尽管他们身着一致,每个人的个性却分外凸显。有人朗声大笑,有人打趣逗乐,还有人严肃地盯着镜头,但都流露出一种非凡的人性,一种独特的个性。透过这些黑白照片,我试着去想象那些颜色:棕褐色的阴影、红色、金光闪闪的奖章。我对每个男孩都充满了好奇,想知道那张照片拍摄后发生的事情。片刻间他们聚集起来,然后就永远地消失了。照片是记忆的承载,这种想法就这样扎根在了我的脑海中。事实上,这张照片就是我毕生对集体照和色彩着迷的来源。

   拍摄集体照的摄影师就像司仪,主导一切又允许每个人有所不同。我既给予总指导,又允许每个人随意展现自我。有的人为了卡位,会越过身旁的人,将肩膀移到前面或是摆出最开朗的笑容,有的人则只是作为群体中的一员退居其后。这些人都是集体的一部分。我的任务是捕捉一个完整的图像,以此展示多种自然形成的人类行为习惯的碰撞。这展示了人类的古怪行为,以及自然形成的公众人格。在某些方面,拍摄集体照就像准备一场宴会并同时准备好所有的食物。更重要的是,也像一个社会学家研究群体中的个体行为。

 

 Project Introduction:

 A defining moment in my development as a photographer was viewing the group portrait of a boy scout troop.  There stood four rows of young boys, their badges and neckerchiefs all alike, but within the group uniformity, each personality was apparent.   Some were laughing, some clowning, some gazing solemnly into the camera lens, but all exuded an extraordinary humanness, a unique individuality.  While the photograph was black-and white, I tried to imagine the colors, the shades of tan, the reds, the golden glints of the medals.  I wondered about each boy, about what happened after that photo was taken. They came together for an instant in time, then vanished forever.  The idea of the photograph as memory took root in my thinking.  In fact, this photograph was the origin of my lifelong fascination with groups and with color.

Being the photographer of group photographs is to be a kind of Master of Ceremony, directing, but allowing each individual to perform. I walk a delicate line between giving general instructions and allowing the group free rein to express itself  while I watch individuals who jockey for position, thrusting a shoulder in front of the next person or wearing the widest smile, while others recede into the background, who are posing only to be a part of something larger—the group.  My role is to capture a complete image, incorporating the eccentricities of human behavior that have emerged naturally from the multitude of personalities.  In some ways, it’s like preparing a banquet and having all the food ready at the same time.  In other ways, and more importantly, it’s like being a sociologist, examining individual behavior within the group.   


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