Today is Labor Day, for me, everyday is like a holiday. I do not want to go out on a trip, so I decided to stay at home and continue to study English and practice listening. Yesterday I just slept for 4 hours in the morning when the office director called me to have a meeting in the dean's office. So I got up immediately and rode my bicycle to campus. We spent 3 hours talking about work problems. And then I had lunch with my colleague in the teacher's canteen. Afterwards I went back to my room and had a rest. But at that moment, my friend Shao called me and wanted to meet me to discuss his new business project. I gave him many ideas but he felt it is difficult to realize those ideas. When we finished talking, he invited me to have dinner when I have free time.

更多作品请浏览：http://www.mbfala.com/artists/_Mona%20Kuhn/

Mona Kuhn was born in Sao Paulo, Brazil, in 1969, of German descent. She earned her degree in the United States from Ohio State University. Since 1998, she has been an independent studies scholar at the Getty Research Institute in Los Angeles. Her work has been exhibited, and is included in public and private collections, internationally and in the United States. Kuhn’s first monograph, Photographs, was debut by Steidl in 2004; her follow up, Evidence, was also published by Steidl and released in Spring 2007. Mona Kuhn has lectured about her work at the Cincinnati Art Museum and Georgia Museum of Art. Mona is a visiting artist at The Pasadena Arts Center.

The images appearing in Evidence were photographed entirely in France, where she resides each summer. Currently, Mona lives and works in Los Angeles.

13-minutes interview with Mona Kuhn

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    巴西出生、现居美国旧金山的Mona Kuhn能流利地用英语、德语和葡萄牙语同世界各地很多人没有障碍地交流，然而，这些都并不是最通俗的全球化语言，对她来说，倾注细腻情感精心拍摄和冲洗 放大的照片，才是最有力、通俗的语言，无论你是哪国人，说哪国话，眼睛和内心的交流，永远都是最有力度的方式。

    Mona Kuhn的作品只有一个主题——人，裸体的人，或独自、或成群呈现着日常生活里最随意的姿势，这种随意里似乎有种力量，直接或间接地向你暗示着那个令人羞怯的仙境——伊甸园。

　　“对我来说，裸体是人最中性的状态”，Mona Kuhn在表达自己的观点时似乎特别强调“人体的存在状态”而不是具体的姿态、骨骼、肌肉、纹理。“这和时尚无关、和时间无关。这些作品让我超越时间，而触及情感的本质。”

    身体的情感并不只是和肉体情色联系在一起，在她的多人作品中，男女模特裸体相拥，却不挑逗。他们只是摆出一种反映存在状态的姿势而已。但同时勿庸置疑的是，这些作品又都是性感的。

　　这样的性感似乎并不全来自于模特，和其它人体摄影师对模特外表精挑细选不同，Mona Kuhn的原则是气质第一、外形第二，正因如此，她的大部分模特都是周围的好友。“一个人身上的气质不光通过外表，而是用一种无法描述的方式散发出来，如果她（他）正好和我合拍，那我马上能感觉到，会邀请他们做我的拍摄模特。”

　　相对单人照，有时她更喜欢尝试男女一起的创作。在拍摄过程中寻求人与环境最自然的融合方式，摸索将感情倾注到照片中，再通过人物的姿态微妙表现出来。

    说起擅长的三门语言，她告诉我们，由于在巴西圣保罗出生长大，葡萄牙语自然流利，而作为一个德国移民的后裔，家族教会了她德语，英语反倒成了她的“第三语言”。Kuhn19岁时来到了美国，随后在哥伦布的俄亥俄州立大学修习国际关系。之后他搬到了加州，继续在旧金山艺术学院学习。直到现在，她仍然在洛杉矶的盖蒂研究院进修。

　　Kuhn在美国的新奥尔良、旧金山、西雅图、纽约和德国的柏林都举办过展览，作品被众多爱好者收藏，包括英国明星埃顿·约翰。

　　谈到对作品的主题命名问题，kuhn直言不讳：“说老实话，我不大喜欢对作品命名，我作品的名字其实并没有什么深刻含义，它有可能只是照片里模特的昵称或者能方便我找到这张图片的代号，仅此而已。”

　　作为一名摄影师，Kuhn的摄影器材可谓非常简单，一台70年代中期的哈苏是她主要的创作工具。从照片拍摄到后期暗房以及放大出片的工作都由她亲自完成，对她来说，自己的眼睛是暗房里最好的工具，在后期任何一个细微的灰色过渡都会对作品的出片效果产生影响。谈到对数码影像的态度，她说：“我并不反对数码，如果有一天世界上胶片消失了，那我也会用数码设备创作，但至少现在对我来说，使用胶片更得心应手一些，况且我对电池和充电器的要求不甚严格。”

　　欲获取更多消息，访问Mona Kuhn的个人网站：http://monakuhn.com

Ryan McGinley的个人摄影网站http://www.ryanmcginley.com

In the beginning Ryan McGinley was known for pictures of his young downtown Manhattan friends. By day he photographed them running, skateboarding, moving, always in motion. By night they were partying, having sex, taking drugs, living fast.

“For me the reason to go out to a party was to photograph,” Mr. McGinley said about those early pictures, which are as playful as they are voyeuristic, straddling a line between exuberance and disorientation.

Motion is a visual aspect of his work, and his career has been equally fast moving. At 24 he had his first show at the Whitney Museum of American Art; the next year P.S. 1/MoMA exhibited his new work. Now Mr. McGinley, not yet 30, will be honored as Young Photographer of the Year next week at the International Center of Photography’s Infinity Awards dinner. So much attention so fast hasn’t seemed to faze him.

“I’m just a photographer, not a movie star,” he said during a recent conversation in his bright, meticulous studio on the Lower East Side, adding that it’s not as if he is recognized by strangers walking down the street. “I’ve worked really hard. I’ve devoted my life to this. I’m not feeling any expectation from anybody else. I’m doing it for myself. I’m making the art for me first. I’m making it because these are the pictures I want to see. I’m making pictures that don’t yet exist.”

The Chelsea gallery owner John Connelly included Mr. McGinley in “Bystander,” a 2002 show he organized at the Andrea Rosen Gallery to spotlight the next generation of photographers. The participants included young photographers who documented the spontaneous activities of their friends in their own environment, a decided contrast to the constructed imagery of Gregory Crewdson, Philip-Lorca diCorcia and Jeff Wall.

“I saw something more casual, immediate and sincere,” Mr. Connelly said about Mr. McGinley’s work. “One picture, of the bicycle taken from above, stuck in my mind. I wanted to put it in the show.”

Reviewing that show in The New York Times, Holland Cotter wrote that “it will be good to see more” of Mr. McGinley’s work. The treatment of gay male bonding “feels refreshingly direct and immediate, autobiographical without being narcissistic,” Mr. Cotter added. “Among other things it’s part of a new approach to the visual depiction of gay life in art.”

The skateboarders, musicians, graffiti artists and gay people in Mr. McGinley’s early work “know what it means to be photographed,” said Sylvia Wolf, the former curator of photography at the Whitney, who organized his show there. “His subjects are performing for the camera and exploring themselves with an acute self-awareness that is decidedly contemporary. They are savvy about visual culture, acutely aware of how identity can be not only communicated but created. They are willing collaborators.”

Mr. McGinley began taking pictures during his junior year as a graphic design student at what was then the Parsons School of Design. “I became obsessed with photographing,” he recalled.

Obsessive might also describe Mr. McGinley’s rigorous method of working. From 1998 to 2003, when he lived with friends in Greenwich Village, he took Polaroid pictures of anyone who visited. He wrote the name of his subject, the time and the date on each Polaroid, then fastidiously placed them on the wall. Eventually the apartment walls were covered with tidy Polaroid grids.

Now every one of his Polaroid portraits is archived by date in 300 black binders that line the shelves of his studio.

In 2000, while still a student at Parsons, he mounted a do-it-yourself show of his pictures — called “The Kids Are All Right” — at 420 West Broadway, a SoHo building that once was home to the Castelli, Sonnabend and Mary Boone galleries. At the time the building was being renovated, and Mr. McGinley used an empty area under construction for his show.

Employing his graphic design skills and technological proficiency, he produced a desktop book with 50 of his photographs. He sold 50 books at the show for $20 each and sent another 50 to artists he admired — including Larry Clark, Nan Goldin, Jack Pierson and Wolfgang Tillmans — and to magazine editors.

The enterprising idea struck him as logical. “No one knows who I am, so I’ll send out my books,” he said.

Index magazine responded with an assignment to photograph the musician Momus in Berlin.

“I was so nervous,” recalled Mr. McGinley, who was only 21 at the time. “It was the first time I had to take photographs of someone I didn’t know, and it was scary trying to make it look like pictures of my friends. First I asked if he would take his shirt off, and then if his girlfriend would take off her clothes down to her underwear.” They did.

Time and experience have made him bolder. Esquire recently assigned him to shoot Robert Frank, known as a photographer who waits for the moment. Mr. McGinley, who shoots as much as he can in the belief that “editing is just as good as shooting,” said he was aware that Mr. Frank was irritated by him. “I just started shooting, and I could tell the sound of the shutter going off was driving him nuts, like the sound of a machine gun.” Paradoxically Mr. McGinley is a beneficiary of the way Mr. Frank changed photography in his day: the authentic moment, the sense of motion, the anarchy of form within the composition.

Ms. Wolf, who became aware of Mr. McGinley when a curatorial assistant at the Whitney put a copy of “The Kids Are All Right” on her desk, said his use of printed material is typical of his techno-savvy generation. But his graphic design background, she added, sets him apart from other artists. “The attitude of getting your work out there,” she noted, “straddling photographic art and graphic art, certainly got his work in front of me.”

Mr. McGinley’s early work and desktop books anticipated the YouTube-MySpace phenomenon of intimate visual diaries created for public consumption. While the confessional and voyeuristic nature of his work may be representative of his generation, what distinguishes him from a personal blogger or online visual diarist is the rigor of his artistic output and his ambition.

“I’m interested in reaching the masses with my work,” he said. “It’s one of my goals.”

The work he began after the Whitney show was significantly different. In 2003 he rented a house in Vermont and invited groups of friends from New York, some of whom he had met at downtown clubs, to spend a week at a time in the country. With his guests as models in a variety of unexpected situations, his images captured their spontaneous behavior.

“I put a trampoline in the middle of a field,” he said, giving one example. He photographed the group walking naked from the house through the woods to the field and then jumping on the trampoline. For another series he spent an afternoon clearing branches from a tree and that night directed his friends to sit together naked in it. And he used an underwater camera to photograph his friends in the lake.

Like his earliest works these images were documentary. He was a fly on the wall. But then he began to direct the activities, photographing his subjects in a cinéma-vérité mode.

“I got to the point where I couldn’t wait for the pictures to happen anymore,” he said. “I was wasting time, and so I started making pictures happen. It borders between being set up or really happening. There’s that fine line.”

The last two summers Mr. McGinley made pictures on cross-country trips, driving with groups of eight friends, plus two assistants, in two vans. He did research to plan the cinematic settings — including swimming holes and bungee-jumping sites — in which he placed his friends. He assembled booklets with pictures from old physique and nudist magazines to show his models and get them in the mood to pose comfortably and spontaneously for the camera. During the road trips Mr. McGinley shot 20 or 30 rolls of film a day while his two assistants filmed the entire process.

The group of friends changed at each coast, as did the route they traveled between New York and California. Mr. McGinley paid each model a day rate and paid for everyone’s food and lodging, as well as the flights home. “The trips are like small film productions,” Mr. McGinley said. “For a three-month trip it comes close to $100,000 for everything.”

The activities in which he places his subjects, and the sense of motion he captures in his pictures, might have a source in his own activities as a teenager: “I was a snowboard instructor after school, and I was skateboarding at 12 or 13,” he said. “I’d come into the city to skateboard downtown in the Financial District, and I’d end up at Astor Place.”

The communal experience, a theme running through all of Mr. McGinley’s work, mirrors his New Jersey upbringing as the youngest of eight siblings. “I grew up very American,” he said. “There were always people around. We’re a totally a touchy-feely family.”

Recalling how much he enjoyed those familial moments, Mr. McGinley talked about the spontaneity he seeks to project in his images. “My photographs are a celebration of life, fun and the beautiful,” he said. “They are a world that doesn’t exist. A fantasy. Freedom is real. There are no rules. The life I wish I was living.”

导演: Steven Shainberg
主演: Nicole Kidman / Robert Downey Jr. / Ty Burrell
上映年度: 2006
语言: English
官方网站: http://www.furmovie.com
Diane Arbus官方网站：http://www.dianearbus.net

前天晚上终于看了这部期待已久的电影，之所以期待是因为这部影片涉及到我喜欢的两位女性黛安娜·阿勃丝和尼可尔·基德曼。从好友那里拿到这部影片彻夜看完，总感觉到不过瘾，好像没有得到我所期待的某些东西，虽然电影里有好多虚构成分在里面，但好像把黛安娜·阿勃丝表现的过火了一点，好奇了一点，偷情了一点，放纵了一点。我不知道现实中的黛安娜·阿勃丝会是这个样子吗？现实中的黛安娜·阿勃丝为什么会拍到那些奇异的照片，特别是在那么短短的几年里，又因为这些照片和这些照片里的人，让她过早地离开世间？

尼可尔·基德曼把那份忧郁、好奇、困惑、迷乱表现的很生动，但对纪实摄影的那份感觉却没有很好地表现出来，在整个影片里她似乎没有怎么拍照片，给人的感觉似乎是借着拍摄的幌子去偷情，去满足自己好奇心了。给丈夫说是去研究邻居——那位多毛症且又自闭的男子，可在一起的时候，都给浪漫了，而那架带着闪光灯的120禄莱双反始终放在桌台上。这个多毛男很狡猾，自从知道Diane总是偷窥他之后，他就想了个很独特的法子与Diane搭上了。因为他满身是长毛，所以他把长毛顺着水管冲下去，到了楼下堵住了Diane家的水管，就在Diane动手用扳手打开水管道后，拿出了长毛，突然顺着水管掉下一把钥匙，意思就是你可以随时上楼打开门进来。即使Diane把钥匙扔进垃圾筒，但还是抵不住这份好奇与诱惑，终于自己找上门了。

整个影片讲述了美国摄影史上最伟大的摄影家黛安娜·阿勃丝（Diane Arbus,1923—1971）在其最后10年的生活状态。从对自己生活的困惑和厌倦到她接触到阁楼上邻居后，将其带入一个诡异奇幻的世界，致使她丢弃家庭，疯狂地融入这个常人无从注意、也无从理解的世界。让她从商业摄影的助手成为一代摄影大师。黛安娜·阿勃丝所接触到的这个世界是美国社会中的那些边缘人物，如裸体营里的人、侏儒、巨人、心理障碍者、自闭者、同性恋，变性人等。因此，她的摄影作品在上个世纪60年代，受到整个摄影界的关注和常人社会的批判。

此部电影根据黛安娜·阿勃丝的生活改编，由Steven Shainberg执导，我最喜欢的尼可尔·基德曼担任主角，饰演戴安娜·阿勃丝。影片改编自Patricia Bosworth在1984年出版的关于黛安娜·阿勃丝的畅销传记小说。黛安娜·阿勃丝被誉为20世纪美国最优秀的摄影师，在她照片中的人物，不管正常与否， 都表现出一种极度变态的倾向，丑陋的外表，让人厌恶的表情，穿着粗俗，甚至连周围的空气都似乎不再清澈，一切都与美好格格不入。黛安的摄影艺术真谛在于让 观众透过她所拍摄的对象，去思考命运与悲剧，思考自己与他人，思考正常与反常的界限。

黛安娜·阿勃丝在1923年3月14日出生于纽约，她的祖父当年为 了逃婚从俄罗斯来到美国，她的父亲大卫·奈莫洛夫是一位成功的犹太商人，并且娶到了纽约第五大街Russek皮草店老板的女儿，后来顺利接手了这家名店。 黛安在富庶安逸的上流社会中长大，14岁时，她与大她5岁的艾伦·阿勃丝相恋，由于家庭的反对，两人的地下恋情长达4年之久。黛安18岁时，两人终成眷 属。艾伦在军队服役时学会了摄影，回家后还教给黛安。战争结束后，两人开始从事服装摄影，艾伦负责拍摄，黛安则负责设计，他们很快成为业内的佼佼者，但黛 安的父母从未资助过女儿，只是成为他们的客户。

1956年，黛安开始自己拍摄作品，她和艾伦的婚姻也逐渐出现裂痕。两人于1959年分居，1969年正式离婚。在艺术学校学习时，黛安结识了著名女摄影师莉赛特·莫德尔，她被后者在作品中所表现的不雅元素所深深吸引，开始学着用镜头来捕捉生活 中的反常和畸形，丑陋和残疾的人群成为她的主角。黛安出没于社会底层，参加变性人聚会，甚至在天体营中同样赤身裸体。在非同寻常的世界观的指引下，黛安成 为了非主流摄影名家，然而在她镜像悲苦命运的同时，自己也换上了忧郁症。1971年7月26日，黛安服用了大量镇静药后在浴缸中割腕自杀，当时年仅48岁。

Diane Arbus

Born in 1923, Diane Nemerov grew up in a wealthy family in New York City and was educated at the Ethical Culture School, a progressive institution. At 18 she married Allan Arbus and began taking photographs. Asked by her father to produce some advertising images for his fashionable Fifth Avenue store, the couple began collaborating, with Diane as stylist and Allan as the photographer. This led, eventually, to them working for most of the major American fashion magazines.

From 1957 she studied under Austrian/American photographer Lisette Model who, more then anyone else, encouraged her to concentrate on her more personal pictures. Soon after, she began to devote herself fully to documentary work, receiving Guggenheim Fellowships in 1963 and 1966 to continue with this.

Before her suicide in 1971 she had already become a serious influence to photographers of the younger generation, and there have since been three book of her work published. 'Diane Arbus - An Aperture Monograph' (1972) is a memoir of images designed by her daughter, Doon Arbus, celebrating her career and style and individuality; 'Magazine Work' (1984) exhibits lesser known commercial works including pictures for Esquire, Harper's Bazaar, and The Sunday Times Magazine for London; 'Untitled' (1995) is the only book devoted to solely one project, photographs taken at unknown residences for mentally handicapped people between 1969 and 1971.