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Posted 10/24/2019
Perhaps there is one thing on which all photographers can agree: we love to photograph our pets. From amateur to professional, a simple photo of our dog, cat, or guinea pig making “that face” is almost irresistible and, based on the current exhibit at The Museum of the Dog, this fascination with photographing our pets reaches into the past for as long as the medium has existed. On this week’s episode, we welcome author and vernacular photography collector Catherine Johnson, and Alan Fausel, Executive Director and CEO of the Museum of the Dog, to discuss the current exhibit on display at this museum. Johnson began collecting archival photos of dogs as a young girl, mostly from local flea markets, but over the years has amassed a unique collection of images—snapshots, posed portraits, cabinet cards, tintypes—dating back to the 1880s. This collection was made into the 2007 book, Dogs, and is now a wonderful exhibition at the Museum of the Dog, during the inaugural year in its new home, in Midtown Manhattan. With Johnson, we discuss the origin of her collection, the distinction between vernacular and amateur photography, and what makes for a good dog photo. We also touch upon her time working for photographer Norman Parkinson and her other photography work. Mr. Fausel, who has thirty years of art-world experience as a scholar, curator, appraiser, and regular guest on the Antiques Roadshow, now heads the Museum of the Dog, which is affiliated with the American Kennel Club. With Fausel, we speak about curating this exhibit, the challenges and joys of running a multi-faceted institution with such a specific theme, and how to balance the interests of dog lovers of varying stripes. We also discuss the growing interest in vernacular photography in the art world and its hard-to-be-determined appraisal value. Join us for this interesting episode and check out the “Photos: Please do not Bend, the Catherine Johnson Collection” on display through December 29, 2019, at the Museum of the Dog. Guests: Catherine Johnson and Alan Fausel © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC © Catherine Johnson LLC, Image Courtesy AKC Museum of the Dog © Catherine Johnson LLC, Image Courtesy AKC Museum of the Dog Jason Tables and Catherine Johnson, © John Harris Alan Fausel © John Harris Allan Weitz, Catherine Johnson, and Alan Fausel © John Harris Allan and his “look-a-like” © John Harris Previous Pause Next Host: Allan Weitz Senior Creative Producer: John Harris Senior Producer: Jason Tables Executive Producer: Lawrence Neves
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Posted 03/09/2018
Are the 1990s history? Well, for today’s episode of the B&H Photography Podcast, we look back to that decade when a new aesthetic in fashion photography was born in England, and later spread to the United States and the world; a transformative style whose influence is apparent almost thirty years after its birth. First appearing in small but influential magazines such as The Face, i-D, and Blitz, and growing from a reactionary youth culture, this raw style reflected a new aesthetic, one that rejected the glam, the supermodel, and the highly stylized photos of the 1980s in favor of eclectic clothing, waifish models, a low-tech, "straight-up" photo style, and a lot of “frickin’ attitude.” For this episode, we welcome fashion photographer Michael Sanders, who is a regular contributor to Italian Elle and who shot for many of the ’90s “style bibles” mentioned above. Sanders came of age in this era and discusses the social and economic factors that lead to this new aesthetic, the cyclical nature of fashion, and the overly simplistic idea of heroin-chic. He also provides a sense of the technologies that made this movement a reality, the gear most commonly used, and the assignment process and shooting-styles embraced. Finally, Sanders offers firsthand insight into the community of photographers, stylists, and models who are associated with this movement, including David Sims, Corinne Day, Kate Moss, Melanie Ward, and the important photographer and bridge figure, Nick Knight. Join us for this interesting look back to the birth of a style and photographic movement that is still reverberating. Guest: Michael Sanders Photograph © Corinne Day, model: Kate Moss, The 3rd Summer of Love cover from “The Face.” 1990 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders from “Blood Simple”, “The Face.” 1997 Photograph © Michael Sanders, 2018 from “Italian Elle”, March 2018 Photograph © Michael Sanders, 2018 from “Italian Elle”, March 2018 Photograph © Michael Sanders, 2018 from “Italian Elle”, March 2018 Photograph © Michael Sanders, courtesy “Italian Elle” Allan Weitz and Michael Sanders, Photograph © John Harris Previous Pause Next DON'T MISS AN EPISODE SUBSCRIBE NOW:   Host: Allan Weitz Senior Creative Producer: John Harris Producer: Jason Tables Executive Producer: Lawrence Neves
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