Workshop with Jane Evelyn Atwood
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Quando: 22 e 23 giugno 2017
Orario: dalle 10 alle 17
Dove: Officine Fotografiche Roma
Costo: 200 euro in un unica soluzione (+ 30 euro tessera associativa)
Il workshop sarà in lingua inglese
This Workshop is a chance to spend time and exchange thoughts with the photographer, Jane Evelyn Atwood.
In a first part, Jane will project scans of subjects she has covered since 1976 when she began making photos in France : prostitutes in Paris, blind children, AIDS, women in prison, landmine victims, Haiti, Badate in Italy, and more.
She will discuss, in depth, how she managed to do the various stories. In coordination with the projections, Jane’s books will be available, and she will speak about how she made them and address how and why each one is specifically adapted to the subject found within. Jane will speak in detail about her very particular way of working, both in-depth and longterm.
Students are encouraged to ask many questions and share with the group their thoughts, worries and/or satisfaction about which anyone speaks and/or about photography in general.
Students willing to participate are encouraged to take on this assignment, as the second part of the workshop will focus on their work:
Each student is to choose a person, a group of people, or a place, and photograph that, and “in depth” as much as possible. The story should be comprehensible with 5 to 8 pictures, no more or less, that recount what the photographer means to say. We should be able to understand what the story is simply from the final 5 – 8 photos without the photographer speaking about it.
Students should edit the story themselves, but put aside everything they’ve eliminated so we can go back and see what was not used.
Once the choice of 5-8 photos has been made, these selects should be printed in small prints, no bigger than 13×18 cms. to be used for class discussion and seeing the final story.
Students should NOT be held up by choosing a story for which it is difficult to gain access – this assignment is not about doing a tough or hard story. It’s about producing a set of pictures in a very short time that say something with good photos, coherently.
Students should think of themselves as “authors”, and not “illustrators”.
Critique will be done with everyone present so that all can benefit from feedback and discussion, both negative and positive.
Should a student be unable to fulfill this assignment, they nevertheless may bring a coherent set of pictures for review and critique, if they want to take advantage of this during the two days.
Jane Evelyn Atwood was born in New York and has been living in France since 1971. Her work reflects a deep involvement with her subjects over long periods of time. Fascinated by people and by the idea of exclusion, she has manged to penetrate worlds that most of us do not know, or choose to ignore.
She is the author of ten books: Nächtlicher Alltag on Parisian prostitutes (Mahnert-Lueg, Munich, 1980); Exterieur Nuit, on the blind (Actes Sud); Trop de Peines, Femmes en Prison (Albin Michel, 2000) and Too Much Time, Women in Prison (Phaidon, 2000), a ten-year project that remains the definitive photographic reference on female incarceration to date; Sentinelles de l’Ombre, (Le Seuil), four years on the devastation of landmines in Cambodia, Mozambique, Angola, Kosovo, and Afghanistan; A Contre Coup (with Annette Lucas), fifteen portraits of French women who have survived abuse (Xavier Barral); Haiti (Actes Sud); and Badate, the immigration phenomenon of Ukrainian women who become caregivers for Italien elderly (Silvana Editoriale, Milan).
In 2010, with Jane Evelyn Atwood #125 (Actes Sud), she joined the prestigious collection of Photo Poche Monographs. In 2011, Xavier Barral re-edits her first story about Parisian prostitutes in Rue Des Lombards. A series of conversations with Jane Evelyn Atwood and Christine Delory-Momberger is published by André Frere Editions in the collection, Juste Entre Nous, in 2015.
Jane Evelyn Atwood is the recipient of many prestigious international awards, including the first W. Eugene Smith Award, 1980; a World Press Foundation Prize, Amsterdam, 1987; the Grand Prix Paris Match du Photojournalisme and the Grand Prix du Portfolio de la Société Civile des Auteurs Multimédia (SCAM), 1990; the Ernst Haas Award, 1994; the Oskar Barnack Prize, Leica Camera, 1997; and an Alfred Eisenstaedt Award, 1998. En 2005, she was given the Charles Flint Kellogg Award in Arts and Letters from Bard College, U.S.A. In 2012 she had her first retrospective at the Maison Européenne de la Photographie in Paris, France, and at the Botanique, in Brussels, Belgium, in 2013 – 2014. In 2014 a large part of this retrospective is presented at the Imagerie in Lannion, Bretagne, France.