Arthur Newman Awards Archives

As one of Maine Media’s finalists for the 2020 Arnold Newman Award for New Directions in Portraiture, Michael Darough‘s powerful series, The Talk, is on the walls of the Griffin until October 23rd. We wanted to know more about Michael and the work, so we asked him a few questions.

Installation view of Michael Darough‘s The Talk on the walls of the Grffin.

Tell us about what inspired the body of work? What was the first image in the series?

The Talk was inspired by the lives of different men and women that I would see on TV. These ideas for my photographs came from conversations I have had with family and friends when I was younger and within the last few years. The issue of systemic racial inequality, especially in regard to the criminal justice system, is not new. It felt like an appropriate time for me to begin to visually articulate those discussions and personal thoughts.

I believe one of the first images in my series was Remembering Gordon. This image was based on the photograph of Gordon or Whipped Peter, as he is commonly known, an enslaved African American man who escaped captivity in 1863. The image depicts lash marks across Gordon’s back; his head is turned profile while his hand is positioned on his hip. Although my photograph does not completely mirror the original material, I considered the composition and his body language when arranging my image.

Thinking about how this has been an ongoing problem in our country, I started looking at the root of this issue and how I might use historical imagery as a reference point to begin this work. I then transitioned to contemporary figures in the news to help guide how I was photographing myself.

Did your ideas about the work change over the course of creating the images? What did you learn from creating the series?

This project went through a couple variations before arriving at the current group of images. Conceptually, ,the idea did not change. I knew I wanted to create work about people who were victims of excessive force. Visually it was different at the start of the project in comparison to the photographs that are on exhibit at the Griffin Museum of Photography. When I started taking photos, all of them were in color and focused more on objects and less on the person. After constant re-shoots I arrived at a version that felt comfortable for the subject matter. I think what I learned most was how to work with lighting, explore storytelling and figuring out a way to direct my viewer through subtle changes.

While all of these situations pictured in the talk are of others, the images are self-portraits. How did your sense of self change when shooting the work?

Previously, I had explored self-portraiture in my work but those images were illustrating stories and memories from my life; these photos are addressing the lives of others. Considering the Information surrounding my portraits, it’s frustrating. I spend my time looking at the details surrounding the deaths of these men at the hands of law enforcement. By the time I would finish shooting and editing there would be another incident. Sometimes during this process, I would find another individual that I overlooked. Although I felt compelled to take on these roles and photograph myself, the cycle of violence feels frustrating.

What would you like us as viewers to take away from seeing The Talk?

This systemic issue within our criminal justice system has been affecting the black community for years. The talk is not something new, it is just a discussion that is currently being had in mainstream culture. I want individuals to look at the work and recognize this problem and feel compelled to have the necessary and uncomfortable conversations needed to fix it.

Can you talk a bit about what being a finalist in the Newman Awards means to you?

This was a great exhibition that I am happy to be a part of. The jurors selected a diverse group of work from talented photographers, addressing their respective content in creative ways. I think that each of us strived to explore new ways to work with portraiture. The imagery, while different, that emerged from our individual bodies of work came together nicely. I’m happy that I was selected as one of the finalists for the Arnold Newman Prize.

What is next for you creatively?

I’m going to explore this idea a little further. While I don’t see this project going on for several years, I do have a few more stories and perspectives to share. I am hopeful that through people marching in the streets, artists addressing this issue and individuals pushing for legislation to help protect individuals, there won’t be a reason for me to make this work. I’m not sure about all the details surrounding my next series but I do have plans to continue to pursue portraiture; probably photographing other’s, not myself.

To see more of Michael Darough‘s powerful work, log onto his website. You can follow him on Instagram @michaeldarough

The Arnold Newman Prize for New Directions in Photographic Portraiture for 2020 is on the walls of the Griffin. Today we highlight one of the finalists, Ruben Salgado Escudero. We wanted to know more about his beautiful series, Solar Portraits, so we asked him a few questions.

© Ruben Salgado Escudero – Mg Ko, a Shan farmer poses with his cow in Lui Pan Sone Village, Kayah State. Only 26% of Myanmar has access to electricity, at least half of whom live in cities. In rural areas, of the estimated 68,000 villages in the country, just 3,000 or so have any sort of access to power. Solar power is a viable source of energy which can rapidly improve lives overnight.

Tell us about what inspired the body of work? What was the first image in the series?

The people of rural Myanmar who mostly live without access to electricity inspired me to begin this project. When I moved there in 2013 to begin my photography career, I was stunned when traveling outside of the main cities and saw that most people had to light candles and kerosene lamps after the sun fell. The first solar portrait I took was a farmer and his cow in a rural area about 250km from Yangon, where I used to live. He told me his story of how, thanks to his small solar panel, he was able to milk his cow earlier in the day and later at night, giving him more time to spend on the field and with his family. I asked if I could take a photo of him with his favorite cow. He agreed and as it was night time, I used the only source of light that was available- his solar powered led bulb.

© Ruben Salgado Escudero – Cristobal Cespedes Lorenzo (51) sits on his raft while carrying coconuts across the river to his home in Copala, on the coast of Mexico’s state of Guerrero.
Cristobal and Francisco Manzanares Cagua (16) both work picking coconuts which they then sell to a company which makes coconut butter and oil.

Did your ideas about the work change over the course of creating the images? What did you learn from creating the series?

I try to have Ideas for projects flow organically, so in this case, and after working on the project for the last five years, it has become much more than a photography project. Solar Portraits has foundation support with registered non-profit (501(c)3) status for its growing social impact initiative. The series has become an educational tool, bringing workshops and creative programming to the youngest members of communities I visit, which leads to collaboration with reciprocity. Students build a simple solar lamp or solar art project, with a focus on opening the door for bright young minds to learn about themes of solar energy innovation, global citizenship, and personal empowerment.

© Ruben Salgado Escudero – (May 31st, 2015) Denis Okiror (30) began using solar lights at his barbershop in Kayunga in 2013, he says most of his customers prefer to visit him in the evening. Uganda has one of the lowest electrification rates in Africa. In urban areas, 55 percent of Ugandans have access to electricity, however, access drops to 10 percent in rural areas, and is only 19 percent nationwide.

Tell us about what inspired the body of work? What was the first image in the series?

This project isn’t quite finished yet. I have been working on it on and off for the last five years. I’m still excited to tell a few more stories for it and eventually make a book. At the same time, I have a couple of other projects I’m working on simultaneously in Mexico, where I have lived for three years.

© Ruben Salgado Escudero – Faustina Flores Carranza (68) and her husband Juan Astudillo Jesus (65) sit in their solar-lit home in San Luis Acatlan, Guerrero, Mexico. Faustina and Juan have seven children and are together since 50 years. Like many members of the Mextica Indigenous Community, they have never had access to electricity.
When asked how having solar has impacted their lives, Faustina said, ”For the first time, we are able to look at each in the eyes in our moments of intimacy.”

Can you talk a bit about what being a finalist in the Newman Awards means to you?

As an artist, anytime that your work is recognized, it gives a push of motivation. It means that all of the hard work and the risks that one takes when creating a long-term creative project is worth it because it resonates with people and especially with seasoned talented photographers like the jury panel. I’m very excited to continue the growth of the project.

You mention Solar Portraits is a 501c3. How do we find out more information about your Non Profit?

Solar Portraits has 501(c)3 status under Blue Earth Alliance, which has allowed us to receive foundation sponsorship for the educational initiative which we are continually working to expand. It is important to me that this project is more than just the documentation. The work we do with young people empowers them to look towards a better future for themselves, their community and our planet.

To see more of Ruben Salgado Escudero‘s work, log onto his website. You can also find him on Instagram. Follow him @rubensalgadoescudero