Dec

Can Art Change the World? Artivist JR Has the Answer

by Meredith Mullins on December 1, 2020

Portrait of artivist JR Artist, showing cultural diversity, social awareness, and answering the question can art change the world. (Image © JR.)

French artivist JR (artist/activist)
© JR

JR’s Monumental Portraits Spark Social Awareness

There are hundreds of motivational quotes about how one person can make a difference . . . or shake the world. One person can be a revolution.

We know it’s true. There are people throughout past and recent history who changed the world—sometimes for worse . . . but mostly for better.

French artivist (artist/activist) JR is one of those people with an instinct for the positive side of change—a street revolutionary, a shaker of the world—with a simple goal of better understanding what makes us human.

His photographic projects and documentaries spark connections in a diverse world and heighten social awareness—all with his driving force of respecting differences, seeking the best of humanness, and valuing unity.

Can art change the world? JR is living proof.

Wrinkles of the City in Shanghai by Artivist JR Artist, showing social awareness and answering the question can art save the world. (Image © JR.)

JR’s Wrinkles of the City project honored senior citizens in Shanghai, Cartegena,
Havana, Berlin, Istanbul, and Los Angeles.
© JR

For People To “See” and “To Be Seen”

Although JR prefers to remain relatively anonymous (JR stands for Jean-René . . . no last name), his work has been recognizable from the start.

He is unique—from the tag he used as a defiant teenage graffiti artist (Face 3) in the early 2000’s to his first “exhibitions” pasted on the public walls of Paris and the banlieue with spray painted frames, to the now famous world-sized “pastings” of black-and-white photos on buildings, rooftops, bridges, cargo containers, trucks, and trains.

A train in Kenya with the work of Artivist JR Artist, showing cultural diversity, social awareness, and answering the question can art change the world. (Image © JR.)

A train travels through the Kenya countryside, with the all-seeing eyes of local women—
a vision toward the future.
© JR

The work is not about him. It is about giving people their moment to be seen . . . to be better understood, especially when they have often been overlooked or marginalized. Women. Prisoners. Elders. War Victims. Immigrants. And just ordinary people who feel invisible.

JR started as a graffiti artist, making his presence known on illegal concrete and metal canvases (walls, buildings, and metro cars) throughout the city. His life changed one day when he found a camera left behind on the metro.

He then became what he called a photograffeur (photographer and graffiti artist), traveling with his street artist friends and capturing their fleeting adventures in the Paris area underground, alleys, and rooftops. He showed us what it was like to surreptitiously paint and run.

Artivist JR's Graffiti artist painting on a metro car, showing cultural diversity, social awareness, and answering the question can art change the world. (Image © JR.)

The acrobatic adventures of a street artist
© JR

His first “exhibitions” of this work included photocopies of the images, with spray painted frames on walls and buildings so that people would be confronted by the images in this outdoor (albeit illegal) gallery—free for everyone.

A gallery on a wall in Paris by artivist JR artist, showing social awareness and answering the question can art change the world. (Image © JR.)

Mon expo à moi (My own exhibit)
JR’s outdoor gallery, free for everyone
© JR

His initial documentary work came with the 2005 riots in the Paris suburb of Clichy-sous-Bois. He photographed the participants who were protesting what they believed to be police harassment/brutality in the poorer housing estates and made huge photos to be pasted around Paris and the suburb cities—so that passers-by would be forced to look into the faces of these disenfranchised youth.

If video does not display, watch it here.

Face 2 Face (Israel to Palestine)

JR’s next illegal project (2007) was an international one in collaboration with Marco Berrebi, where he photographed Israeli and Palestinian people in the same professions with a 28 mm lens.

This close-up approach meant that the taxi drivers, hairdressers, students, sportspeople, actors, musicians, sculptors, and police looked comically distorted. It also meant they were engaged with the photographer. They talked . . . and listened. They connected.

JR then pasted the huge black-and-white photographs in unavoidable places in eight cities in both Israel and Palestine (including on the dividing wall).

The intent and the result was that most people could not tell if the subjects were Israeli or Palestinian. The viewers no doubt smiled at the fun expressions, recognized certain similarities, and engaged in conversation about the project. More importantly, they perhaps focused on the possibility of living together as humans in peace.

Face 2 Face, the work of artivist JR artist, in the West Bank of Palestine, showing social awareness and answering the question can art change the world. (Image © JR.)

Israelis and Palestinians pasted on the separation wall in Bethlehem, Palestinian side.
© JR

Woman Are Heroes

The “Women Are Heroes” project began in 2007 and stretched from Kenya to Brazil, Liberia, Sierra Leone, the Sudan, Cambodia, India, Paris, and Le Havre.

JR met and photographed women who live in the midst of conflict or in challenging climate or economic conditions and who are often targets during war and victims of violence. And yet, they play a pivotal role in family and society.

As in all his projects, he then pasted the large photographs in highly visible places in the cities and villages, so that the women were “seen” and shown with dignity.

One of the most dramatic pastings was in the Morro da Providência favela in Rio de Janeiro, Brazil. In this dangerous slum, the faces of the women inside the homes were shown on the outside walls, filling the hillside with haunting eyes and poignant faces. And for one brief moment, the favela was known for something other than drugs and violence.

Women are Heroes photos by artivist JR pasted on houses in the Favela Morro da Providência, Brazil, showing social awareness and answering the question can art change the world. (Image © JR.)

Women Are Heroes in the Favela Morro da Providência, Brazil.
© JR

For the Kenya project, the photos that were placed on the women’s roofs were made of water resistant vinyl so that they would last longer and could protect the fragile houses during the rainy season.

Because many of the women photographed for this project asked that their stories be shared with the world, the photos were pasted on trains and trucks that traveled throughout the countries.

The ultimate journey was when JR pasted a Kenyan women’s eyes on cargo containers that were on a ship leaving Le Havre, France, bound for Malaysia. These eyes went off to see the world . . . and to be seen by the world.

Women Are Heroes photo by artivist JR in Sierra Leone, showing social awareness and answering the question can art change the world. (Image © JR.)

Making the strong women of Sierra Leone visible to all
© JR

This Land Is Your Land, This Land Is My Land

Immigration and “the wall” between the U.S. and Mexico were in the news in 2017 when JR created a project highlighting the border fence near Tecate, Mexico.

He created a giant billboard-like installation of a Mexican child innocently peeking over the fence into the United States. What does this promised land hold . . . or bar? What do we see from this Mexican border town where most everyone passing through tries to be invisible?

Artivist JR's pasting of a child looking over the USA Mexico border near Tecate Mexico, showing cultural diversity and social awareness and answering the question can art change the world. (Image © JR.)

What is Kikito thinking as he peeks over the border fence into the USA?
© JR

To celebrate the day when the installation had to be removed, JR organized a picnic on both sides of the fence, with a table that was half in the U.S. and half in Mexico and a “tablecloth” that presented the eyes of a DACA dreamer.

Everyone brought food to share. Music wafted through the fence, with half the band in the U.S. and half in Mexico.

JR thought the border patrol would stop the celebration, but the party was allowed to continue. Everyone was reveling in a rare moment of unity.

Artivist JR organizes a picnic on both sides of the border fence near Tecate Mexico, showing cultural diversity and social awareness and answering the question can art change the world. (Image © JR.)

An impromptu celebration of unity at the border fence between Mexico and the USA
© JR

Giving Voice to Prisoners

From the disenfranchised youth of JR’s home in the suburbs of Paris to the California Tehachapi maximum-security prison, JR focuses on making us see those we have made invisible.

For his 2019 project at the prison, he photographed prisoners, guards, and former prisoners—one by one— from above, so that when they were combined into one mural on the concrete floor of the yard, they would appear to be looking outward. Each man was also videotaped telling his story. There was no judgement. JR just wanted to listen . . . and for others to listen.

Artivist JR's pasting at the Tehachapi Prison, showing social awareness and answering the question can art change the world. (Image © JR.)

Prisoners, former prisoners, and guards at the Tehachapi Prison come together
in JR’s mural pasting and look out toward . . .
© JR

The prisoners were part of the team that pasted the photos to the yard—one team building something together. The mural was ephemeral, like many of JR’s works. The pasting disappeared in three days with the normal activity of the prisoners in the yard.

If video does not display, watch it here.

As an epilogue to this project, JR returned in 2020 and pasted photographs of the Tehachapi mountains on the prison wall, making the wall disappear and morph into a mirage of freedom.

Artivist JR pastes a mural at the Tehachapi prison yard and wall, showing social awareness and answering the question can art change the world. (Image © JR.)

A mirage of freedom—making the prison wall merge with the mountains
© JR

Oh, I See: Turning the World Inside Out

JR, the artivist, is prolific. His projects are too numerous to mention in one story. He has turned the Louvre pyramid into 3D time travel (2019) and has honored the elderly of the world in a project called “Wrinkles of the City” (2008-2015).

Artivist JR's installation at the Louvre in Paris in 2019, showing social awareness and answering the question can art change the world. (Image © JR.)

JRs 2019 3D optical illusion at the Louvre pyramid in Paris
© JR

He continues to expand our social awareness and invent creative ways to shine a light on those who need to be more visible in the name of fairness and equality.

Can art change the world? JR’s foundation of that name hopes so.

One thing is certain. JR believes that art can change the way we see the world and the amazing humans that inhabit this planet. He will continue to open our eyes so that we can see and be seen. Onward . . .

See also JR’s 2017 film with Agnes Varda entitled Visages/Villages (Faces/Places) and his organization Can Art Change The World.

Thank you to JR and Agence VU.

Comment on this post below, or inspire insight with your own OIC Moment here.

Meredith Mullins 4 Comments

Cultural Diversity/The World's Photography/USA/Worldwide Sites

Jul

Everything is Pawssible at the Arles Photo Festival

by Meredith Mullins on July 23, 2018

[nopinit]

Casual, a photo by William Wegman in 2002, shown at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Candy stars in Casual (2002)
© William Wegman (Courtesy of the artist)

William Wegman Makes Us Smile

What’s the best way to experience William Wegman’s “Being Human” exhibit at the 2018 Rencontres d’Arles (Arles Photo Festival)?

Spend time with Wegman’s original 20 x 24 Polaroid prints—but also take note of the faces of the visitors.

Everyone is smiling.

We’re smiling at dogs sporting festive wigs, or arching majestically on shapes of color, or agilely balancing things on their nose or head, or morphing into other animals like a giraffelant, or going about the daily tasks of living (with a surreptitious set of human hands).

We’re smiling at each of the 100 photographs displayed in this show, but we’re really smiling at ourselves as we make a connection to the fascinating world of being human.

We’re also amazed at just how creative Wegman has been in the nearly 50 years he has been photographing his beloved weimaraners.

Cut to Reveal, a photo by William Wegman at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Batty stars in Cut to Reveal (1997)
© William Wegman (Courtesy of the artist)

With a retrospective such as “Being Human,” it becomes clear that Wegman continues to evolve and challenge himself (and his dogs)—with a unique blend of conceptual art and surrealism; a range of elements from cubism, color fields, masquerades, high fashion, theatrical costumes, eclectic furniture, and figure studies; and above all . . . humor.

In a world where the harsh realities of the planet are often a subtle (or not so subtle) presence in photographic images, these images give our spirit a chance to laugh.

Upside Downward, a photo by William Wegman at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Penny stars in Upside Downward (2006)
© William Wegman (Courtesy of the artist)

No Underdogs Here

As the exhibit curator William Ewing notes in the book Being Human, Wegman explores many genres—photojournalism, astronomy, gastronomy, landscapes, seascapes, haute couture, theatre, opera, art trends, and metaphysical and difficult existential questions—all through the noble character and soulsearching pale eyes of his dogs.

“I’ve always thought of working with the dogs as parallel play. The dogs play their game and I play mine,” says Wegman in conversation with Ewing.

The canine cast of characters all like to play . . . and to work. The dogs want to be chosen to be photographed. In fact, they feel left out if they are not the center of attention on the set.

Sometimes Wegman has to pretend that everyone has a part, even when one dog is the focus. There’s no underdog here.

In the Wegman studio, every dog is a star. And every dog has his or her own talent and personality. Wegman is an expert at casting the right dog with the right creative vision. We get to know the character of Man Ray, Fay Ray, Chundo, Bettina (Batty), Crooky, Mazzy, Chip, Bobbin, Candy, Penny, Flo, and Topper.

Constructivism, a photo by William Wegman at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Topper stars in Constructivism (2014)
© William Wegman (Courtesy of the artist)

In The Beginning There Was Man Ray

How did it all begin? The puppy Man Ray came into the picture (pun intended) while Wegman was teaching in California in 1970. Wegman’s artistic media up until that time had been drawing, painting, and video.

Man Ray made it clear that he wanted to be a part of the action, so Wegman began featuring him in photographs. He marveled at how Man Ray was transformed by the act of photographing him. “He became,” in Wegman’s words.

Man Ray was regal, confident, a leader of the pack. He emerged as the star of Wegman’s photographs, as well as videos. He even learned to spell.

If video does not display, watch it here.

The Dog Photographer

Although Wegman is sometimes called “the dog photographer” or is accused of being too anthropomorphic, his art moves well beyond any such categorization (although it’s hard to argue the anthropomorphism point when Man Ray was named “Man of the Year” by the Village Voice after he died).

The basic truth is that Wegman’s art is a tender collaboration between a human and humans’ best friends. The subject is not dogs. The subject is life.

George, a photo by William Wegman at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Chundo stars in George (1997)
© William Wegman (Courtesy of the artist)

The portraiture is not unlike other humanists’ approach. The photographer works to show the deeper layers of the subject so that the viewer will be engaged in the story . . . in the discovery . . . in the exploration.

Wegman has the advantage that wiemaraners are hunting dogs and are inclined to stay still, as if pointing. However, he still must elicit the right emotions (although he admits that the wiemaraner expression is somewhat detached . . . similar to an elegant fashion model who is a bit above it all).

The Wegman techniques are slightly different from the average portrait photographer. How does he get his subjects to do what he wants?

“Cat was a big word with many of my dogs,” Wegman says. “Ball has been an important word until recently, and Bone continues to be promising. But if you keep saying Bone and don’t deliver, the word crashes and you have to find another word.”

Cursive Display, a photo by William Wegman at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Flo stars in Cursive Display (2013)
© William Wegman (Courtesy of the artist)

The Polaroid Era

Wegman’s style and vision changed in 1978 when Polaroid invited him to try out one of their few new 20 x 24 cameras.

The camera was the size of a refrigerator and weighed more than 400 pounds. Wegman had to go to the Polaroid studio (dogs, costumes, and props in hand) to create the photographs.

The camera dictated that he work in color, in a vertical format. He saw the images almost immediately after shooting, which enabled timely adjustments. And the images had all the quality advantages of a large-format camera.

Because of the size and immobility of the camera, he had to bring his subjects up to the level of the lens. There also was no post-shoot manipulation. The image was exactly as it was shot.

Later, he did go on location from time to time, hauling the camera in a truck (along with the Polaroid assistant).

Wegman worked with the Polaroid camera from 1979 to 2007, creating more than 15,000 images.

Knowing the challenges of this camera format makes seeing these Polaroid originals in the exhibit all the more thrilling. It becomes obvious how much work went into creating these complex stories and capturing the “decisive moment.”

As Wegman said in an interview, ““The lucky accident happens over and over again if you just spend time at it.”

After the end of the Polaroid era, Wegman moved to digital. Thus, he still has the benefit of seeing the image immediately so he can make adjustments.

However, because post-production is now a possibility, he must test the faith of his viewers to know he does not manipulate the images with Photoshop. He is still working in the Polaroid philosophy.

Feathered Footwear, a photo by William Wegman at the Rencontres d'Arles (Arles Photo Festival). (Image © William Wegman.)

Feathered Footwear (1999)
© William Wegman (Courtesy of the artist)

An “Oh I See” Pawsterity Moment

The axiom that photographing something you love brings you closer to that subject is certainly true for William Wegman.

An aboriginal saying is also true: Dogs make us human.

We come out of the “Being Human” exhibit feeling better about ourselves and our fellow beings. And we come out smiling.

Les Rencontres de la photographie d’Arles, exhibitions run from July 2 until September 23 2018, 34 Rue du Dr Fanton, 13200 Arles

The exhibit “Being Human,” curated by William Ewing is produced by the Foundation for the Exhibition of Photography, Minneapolis, in collaboration with the Rencontres d’Arles.

William Wegman’s work can be found at the Sperone Westwater Gallery in New York. His numerous books can be found on Amazon.

The new book “Being Human” in collaboration with William Ewing includes more than 300 photos, many of which have never been shown, and can be found here.

Comment on this post below, or inspire insight with your own OIC Moment here.

A bonus encore: Wegman’s famous Dog Duet.

If video does not display, watch it here.

Meredith Mullins 2 Comments

France/The World's Photography/USA

May

Travel Adventures with a Heartfelt Focus

by Meredith Mullins on May 29, 2017

A cheetah in Namibia, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

The beauty of a cheetah in motion in Namibia
© Suzi Eszterhas

Wildlife Photography that Makes a Difference

Focus is a word that comes to mind when talking about Suzi Eszterhas. Not just because it’s a clever— albeit overused—pun that pops up in photography circles, but because Suzi was focused at an early age on what she wanted in life.

Not too many six-year-olds know what their future will hold. Suzi did. Travel adventures were her destiny. She knew she would be a wildlife photographer.

Suzi Eszterhas, a master of wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

Obsession Can Be a Good Thing

Her family lived a suburban life in Northern California; and, she remembers, her parents weren’t that interested in nature, although they were devoted to rescue animals so the family had a menagerie of dogs and cats.

Since Suzi felt a magnetic and magical pull toward wildlife, she set out to find her own way.

Koala and baby, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

She plastered her bedroom walls with pictures of animals (Ranger Rick décor). She hunted nature documentaries on television. She studied the behavior of squirrels and deer in the open space of her backyard and spied on the skunks and raccoons outside at night.

She became a serious bird watcher at age 8, with field guides in hand. She took notes, drew pictures, and kept journals of bird behavior.

Red-legged honey creeper in Costa Rica, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

She started feeding the birds that came to her yard and collected books with different recipes for different species. She even convinced her mother to take her to local nature preserves to expand her natural world.

These early childhood obsessions taught her patience—waiting for animals to show special moments of their hidden lives. She also learned the importance of research to understand animal behavior.

Grizzly Bear in Katmai National Park in Alaska, a result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

Photographing the Beauty of Animal Family Life

Over the years, Suzi stayed true to her destiny, fueled by an innate drive. She soon became a successful wildlife photographer, specializing in the family life of endangered species, particularly the compelling behavior of the young animals.

“What I live and breathe is wildlife and the experiences I have with these animals,” she says. It’s much more about the wildlife than about the photography. Baby animals have always spoken to me.”

Why is she so passionate about documenting animals’ family life?

“There’s a pattern of vulnerability and innocence in what I’m trying to capture—the beauty and rawness of that innocence and vulnerability. There’s no better way to capture that than between mothers and their young or sibling relationships. I was always moved by the younger animals.”

A Sumatran Orangutan baby, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

Africa . . . Here I Come

Suzi told her parents when she was a child that she wanted to live in a tent in Africa. They thought it was a passing phase. It was a phase, in truth—but a phase that lasted into her adult life.

The dream was realized when she lived in the Masai Mara in Kenya for three years photographing cheetah families, then moving on to lions, hyenas, jackals and bat-eared foxes.

Cheetah cubs in the Masai Mara, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

She set up camp, built relationships with the locals, respected the culture, learned the language, and created unique opportunities for her photography, such as working with the anti-poaching team and the park officials.

Travel adventures became a part of her regular routine—in exotic locations and often unforgiving environments around the world.

She has fought her way out of an attempted kidnapping and has been stung by jellyfish, stranded on a deserted island, nearly arrested for poaching, and hobbled by a run through the jungle chasing chimps (foot injury).

A Ugandan jungle provided surprises every day, including bee swarms and being greeted one morning by a tick in her nose.

She rose to these challenges and let her passion be her guide.

Ugandan chimpanzee, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

A Modern-Day Explorer

“I think some of my trips where I rough it are really hard core, but then I read things about the early explorers and see how unbelievably harsh and unforgiving the environment can be,” Suzi says. “My life, my job, seems mundane, easy by comparison. I don’t even know what harsh is, what roughing it is.”

In comparison with the early explorers, what she says is true. But she perhaps underestimates her bravery, her drive, and her ability to adapt to foreign cultures and rugged lands. Her life is anything but mundane.

Adelie Penguin on Paulet Island, Antarctica, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

She often travels alone, but depends on local guides and researchers to help her learn about the animals and environment where she is photographing, as well as to spot the animals.

She is also experienced enough now to know that an investment of time is paramount, whether she’s in a remote forest, a tangled jungle, or a sweeping savanna.

A California harbor seal and pup, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

She knows that in-depth work yields the best results and makes her images unique in the competitive world. She often devotes her time to a single species, for example working three seasons photographing harbor seal pupping.

Or she invests the time needed to wait for the birth of the young, to watch the young animals grow up and learn the ways of the world, or just to gain the trust of the animals.

Lion cub meeting his father, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

“In most of my work, the animals know I’m there and have accepted my presence,” she says.

“I would never intentionally harass an animal. Ever. They are individual beings with feelings. I need to work with them in a manner that they no longer pay attention to me and they trust that I’m not going to hurt them. ”

Sometimes this takes a while to achieve. Her record is 17 days—the time it took her to acclimate a jackal family to her presence. She moved closer and closer to the den, all the while being sensitive to how the animals were responding. She took no photos until the 18th day.

She knows that, if the animals are stressed, they might move their babies, which could be dangerous to their health and safety.

Jackal pups in the Masai Mara, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

Oh, I See

For Suzi, the “Oh, I see” moments are born from the amazing behavior of the animals she is studying, particularly the powerful family interactions. She adds to those experiences her ability to capture the power and beauty of nature.

“Nature makes it easy to bring art into the photographs. Nature itself is painting with light and color and texture. It makes people feel something.”

A mountain gorilla in Rwanda, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

She supports several conservation groups by raising funds and awareness and offers free photography workshops for teen girls to encourage them to enter the male-dominated field of wildlife photography.

She has also created a nursery print series and books for children—Wildlife Rescue series, Moto and Me, and Baby Animals (coming this fall)—so that children (even babies and toddlers) will have access to these special moments.

California sea otter and newborn baby, the result of Suzi Eszterhas wildlife photography and travel adventures. (Image © Suzi Eszterhas.)

Her overarching mission is to bring these amazing animals into people’s homes so that future generations can be empowered and inspired by the beauty of the wild and the exhilaration of dramatic travel adventures. The imagery is a powerful tool. The ultimate goal is to bring awareness to the importance of protecting these rare treasures and their habitats for years to come.

With Suzi’s focus, drive, and passion, this mission (and the story of her destiny) continues to unfold. We are fortunate that the story has the promise of a good ending.

Follow Suzi Eszterhas’s work and workshop schedule on this site and Facebook page. You may also wish to follow the organizations she supports: the Cheetah Conservation Fund, Wildlife Conservation Network, Tiger Time, Sloth Conservaton Foundation, Orangutan Foundation International, and The Center for Animal Protection and Education.