Thanks to Fellowship Trust and the special help of Alejandro Cartagena and Fernando Gallegos, we can inform you that the following NFT photography is now part of Jenny DAO’s collection:
💎 László Moholy-Nagy, Pier at the Trensbordeur Bridge, Marseille, 1929
💎 Joel Meyerowitz, Red interior, Provincetown, Massachusetts, 1977
💎 Joel Sternfeld, Montezuma Creek, Utah, May 1983
💎 Pieter Hugo, The Hyena Men of Nigeria, Nigeria, 2005
💎 Gregory Crewdson, The Mattress, 2014
Jenny DAO extends a warm welcome to these big names in photography and NFT grails in our community.
Fellowship Trust brings the best photographers to the blockchain — they preserve and exhibit NFTs of great living artists and legacies. They also help shape the next generation — giving grants, awards and acquiring work from emerging talent with a focus on diversity and inclusion.
You can learn more about each acquired photo NFT here:
THE MATTRESS, 2014 by GREGORY CREWDSON
About the piece: Two cars are parked at the end of a road, surrounded by a multitude of pine trees, maybe we followed the tracks to this place, where we find a man, standing beside the road, staring at an old, abandoned mattress in the middle of nowhere. In this image, it is difficult to stare at just one thing, the landscape overwhelms us as we try to put attention to any of the details. What’s all this doing out here? The pines stare at us as we wonder what else has been swallowed by this landscape.
About the work: Cathedral of the Pines (2013–14) was produced in the rural woodlands surrounding Becket, Massachusetts, a small town that was first settled in 1740 and home to the titular forest trail the work is named after. There’s a pervasive stillness that exists in the works of this collection. As we viewers tour these pictures, we find the quietude of the cabins and forest landscapes become hosts to a dark and meditative dwelling of the subjects that populate these places.
About the artist: Gregory Crewdson is one of the most widely collected and celebrated photographers of our time. His work has been acquired by MoMA, The Met, The Whitney, and SFMoMA among many other public museum collections. And throughout the early-mid 2000s, his titanic influence over new generations of photographers grew and became deeply entrenched within the emergence of pseudo-cinematic photographic practices that examine narrative moments in relationship to larger, unseen stories.
Red Interior, Provincetown, Massachusetts, 1977 by JOEL MEYEROWITZ
About the piece: Down a paved road there’s a row of houses, night is about to fall, or is it dawn? the sky looks pink/blue, a streetlamp shines bright next to the moon’s glow, some of the houses have parked cars outside, one other car with its doors opens and a red light coming out of it. The image presents to us as if we were waiting in line, standing just outside an unseen car, studying the scene, taking decisions. The car is still running, we see the lights on the road just in front of us, the scene hypnotizes us, each light shining with its own intensity, each light a story on its own.
About the work: Cape Light is a seminal body of work that tours viewers across the beaches and small towns of Cape Cod, a tourist mecca renowned for its serenity and vivid hues of seaside light. When viewing the work there is a certain nostalgia that rises to the forefront of Meyerowitz’s pictures, and a certain longing for an Americana from days gone by. Meyerowitz photographed Cape Cod in the summer of 1976, one year after the close of the Vietnam War, and the photographs come to resemble a world of tranquillity and stillness, a far cry from the traditions of frantic street photography that his initial career was born into. As it stands today, Cape Light is a body of work that has achieved accomplishments that no other photographer is likely to repeat. Over 350 exhibitions of the work have occurred since its inception, over 150,000 copies of the book have been sold, and Meyerowitz himself has come to be known as among the most important photographers of both the 20th and 21st centuries.
About the artist: Throughout his legendary 60-year career, Joel Meyerowitz’s vision has become widely recognized for its softness, grace, and romanticism. His practice has been heralded for its embrace of a certain classicalism that is designed for slow savouring and seeks what is pure in photography’s relationships to light, time, and formal construction.
Pier at Trensbordeur Bridge, Marseille by LASZLO MOHOLY-NAGY
About the piece: A wavy texture is at the bottom. On top, there’s 4 lines crossing the image from side to side in different directions, fragmenting it in several pieces. An image that strikes first as a graphic study, and then becomes increasingly profound in its sense of perspective as one starts recognizing what the small figures at the bottom are. A very interesting piece that shows the way an image is transformed just with the understanding of its medium, a very different image if you think of it as a graphic design than what it becomes when you think of it as a photograph.
About the work: The collection of photographic work Moholy-Nagy produced, largely throughout the 1920s, exhibits the artist’s breadth of experiments with photo-collage, photograms, solarization, as well as making more “traditional” photographs albeit through utilization of extreme perspectives that emphasize how the camera both extends and defies natural human vision. It is a relatively small body of photographic work within his larger practice, yet it represents a divergent path in the history of photography which, to this day, has become widely adopted in its direction toward a more personal, self-expressive, and integral form of expression. Moholy-Nagy’s work signalled the embrace of subjectivity in a medium often otherwise known for its coldness, impartiality, and objective gaze.
About the artist: The legacy of Hungarian artist Laszlo Moholy-Nagy is among the most cherished in the lineage of photographic art, and he can be defined as a visionary whose radical experiments with photography entirely re-imagined the possibilities for the medium. Working in the early 20th century when photography was not considered a form of high art, Moholy-Nagy actively sought to break down boundaries and find new languages of photographic discourse. In doing so, he left behind an oeuvre of visual ideas that have provided artistic license to a century’s worth of photographers to experiment boldly beyond the conventional definitions of what photography is expected to be.
The Hyena Men of Nigeria, Nigeria, 2005 by PIETER HUGO
About the piece: Seven men and a child sit on an improvised bench on a dirt road in front of a cloth fence accompanied by their hyenas, pythons and monkeys in a strange kind of family portrait. A dog is at the right edge of the image, looking away, not the centre of attention for the gang, not what we are used to see with dogs. In this image, we are confronted with the most common, recognizable and comfortable kind of photograph we know, with a twist that makes us wonder what does common mean after all.
About the work: Pieter Hugo’s The Hyena and Other Men (2005–2007) is a portrait series produced in Nigeria about a community of ‘hyena men’ who together form a community around the ownership of exotic animals, predominantly hyenas, but pythons and monkeys as well. Dubbed the “Gadawan Kura” (which roughly translates from Hausa to “hyena handlers”), these men make a living by capturing, training, and performing with these animals.
About the artist: The portraiture of Pieter Hugo has been long heralded for its incisive and thoughtful representation of marginalized communities throughout Africa. And the photographer’s broadly celebrated career spans multiple stylistic and conceptual phases which together form one of the most distinctive voices in contemporary photography. Hugo’s work has achieved wide international recognition, and is represented in multitudes of prominent public collections, Including Centre Pompidou, The Metropolitan Museum of Art, Deutsche Börse Group, and MoMA, among many others.
Montezuma Creek, Utah, May 1983 by Joel Sternfeld
About the piece: We see an abandoned car, half destroyed, in the middle of a deserted landscape, a hill at the back, and beyond that some clouds that suggest the possibility of a storm coming. All brown, the landscape reminds us of the ones that are seen in the American Southwest if while going down the highway you were to stop your car and walk a few steps into the wilderness. In each image from this series, large format views of spaces that we think we somehow already know, Sternfeld achieves convincing us of the idea that all that he shows us are nothing but facts of the American landscape.
About the work: American Prospects: The New Pictures is the debut of never-before-seen images from Sternfeld’s legendary work. Oftentimes quieter and more contemplative than the iconic images of the original publication, they provide a more nuanced and a more rounded view of the contradictions inherent in the American experience.
About the artist: Since emerging in the 1970s alongside other pioneers of color photography such as William Eggleston and Stephen Shore, Joel Sternfeld has charted a widely acclaimed course achieving both visual and theoretic acclaim afforded by few artists. His work is admired for its large format beauty, his unique application of color theory to color photography, and his historically informed and poignant record of the United States just before and after the millennium.
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