K A M S I N

Politics & Self
humansofnewyork:

"One time we we had a project in class, and my friend said he didn’t want to be my partner, and I got an A+, and he just got an A."

humansofnewyork:

"One time we we had a project in class, and my friend said he didn’t want to be my partner, and I got an A+, and he just got an A."

(via fashioncitizen)

yagazieemezi:

Facing Your Work

Hey guys, it’s been a while since I’ve done a super personal post, right?!

It’s insane how much has changed for me over the last year. Shit, more than that. Over the last two years with graduating college, being jobless, the whole NY fiasco, the ex-bf drama, the emotional demons, the broke life, everything. And here I am with a website launched, my artwork making money, about to jump countries, a new found work ethic and happy. I started this tumblr in 2010 as a way to showcase my passion and dedication to Africa. I not only shared that, but I shared myself as well and we all kept evolving. I am venturing into a new area of life and for those like me who wish to combine their passions with their work as well, I leave you this:

Wherever you are in your journey, just know that you have to keep going. One step after another, one brick on top of another, you will build the work you have envisioned. You’ll hit obstacles along the way. It’s inevitable. In regards to my work, not everyone will approach you in a collaborative spirit, not everyone will give you credit as they use your work as a springboard to boost themselves, and you have to decide what your response is going to be. Honestly, the way I think about it is just- face your work. If others want to conduct themselves without integrity, that’s their business. Continue in a spirit of generosity and openness. 

I’ve worked hard to build this platform with the goal of highlighting young African photographers and other creatives, and it’s my hope that their work will be shown on other platforms as well. Sharing new talent is part of documenting our current culture and I do this for the love of the art.(keep reading)

(With the big move coming up, I’m taking every opportunity I can to document my last weeks in New Mexico. Here is a shoot I did with photographers Latisha and Drew in Albuquerque, New Mexico.)

Website / Facebook / Twitter / Instagram

Dedicated to the Cultural Preservation of the African Aesthetic

(via elliebfierce)

accradotalt:


CLASSIC OLD-SCHOOL PHOTOGRAPHY IN GHANA


Philip Kwame Apagya was born in Sekondi in Western Ghana in 1958, after a period of apprenticeship in his father’s photo studio (a former crime-scene photographer), he worked as a travelling photographer for a while in Ivory Coast following the colour revolution in the late 1980s. After his photojournalism studies at the Ghana institute of journalism, he opened his own studio in Shama in the Western region of Ghana in 1982.

Philip Kwame Apagya is known worldwide, because of his participation in many personal and collective exhibitions. among others:

'Snap Me One!' studio photographers in africa ,special emphasis was put on the studio decorations. the items shown include 150 photographs,
10 original backdrops from ghana as well as other materials.
visitors had the opportunity to be ‘snapped’ in front of a backdrop
of their choice. the photos were taken by Philip Kwame Apagya.

A DesignBoom review of Philip’s works states


In africa, a photo studio is the place where dreams come true. for a few pence, ordinary mortals can strike a pose and achieve immortality, have things they haven’t got and may never have, be people they are not and may never be, have access to the inaccessible. People start asking for personal portraits that go beyond the image usually present on identity papers, often the only ‘popular portrait’ available. this open new roads to the art of photographic portrait, with possibility for the artist to catch
special moments in people’s existence: people ask for a picture for several reasons, but with the common desire to have a ‘funny picture’. In this process, new forms of self-representation become part of a new social identity: this is the framework in which we might consider the work of Philip Kwame Apagya.

Philip Kwame Apagya’s formal portraits in front of commissioned painted backgrounds seem to be suspended between realism and a sort of naïvité,
They are both unreal and hyperealistic: the dreams of african people are put on stage - against scenery which praises consumer society.

The subject stands in front of a painted backdrop that portrays everything people dream of having: fake new england country houses
showing off some porcelain, VCRs and TVs in bar closets,
modern kitchens with well-stocked refrigerators with coke and cheetos…
portraits with with a quarter / half / full smile, because nobody in africa is really deceived by make-believe… but for one glorious moment they can have it all.

These portraits are highly amusing for us, ‘western people’,
but are also unintentionally disturbing because of the insight they
offer into a growing cultural vacuum. This is the dream, and it is empty and materialistic”

Philip’s works has toured the world and exhibited in some of the best galleries.


1998
stadtmuseum, munich;
city museum abteiberg, mönchengladbach;
iwalewa-house, university of bayreuth;
1999
smithsonianiInstitute, washington
2000
royal tropical institute, amsterdam


a catalogue with the same title is available.
‘snap me one!’
studio photographers in africa
prestel-verlag, 1998


‘africa by africa’ / ’ l’afrique par elle-même’ / ‘portrait afrika’
a photographic view
1999
maison européenne de la photographie, paris;
barbican art gallery, london;
south african national gallery, cape town;

2000,
third rencontres de la photographie africaine, bamako, mali;
haus der kulturen der welt, berlin;

'africa inside'
2000
noorderlicht 2000 photography festival, fries museum, groningen;
‘collezione etro uomo spring/summer 2000’, galleria luisa delle piane, milan

(via dynamicafrica)