Fantom: There It Is

It came from nowhere! Well, somewhere:
Fantom is the new quartlerly photography magazine based in Milan and New York, where editors Selva Barni and former Art Basel Director Cay Sophie Rabinowitz are respectively based. It's a publication dedicated to the voice of photographers "found, forgotten, and not yet discovered," says Barni. It's organized by franchised features, like "Eye to Eye," a conversation between photographers, and "Eye of the Beholder," in which an art professional trains a lens on the work of an artist. The cover of the not-for-sale Issue Zero introduces the work of Cypriot artist Christodoulos Panayiotou, whose work will feature in Issue One, out in November. Talk about product placement. There's also a spread devoted to the Purple Diary, Olivier Zahm's phenomenon of a brand-supplementing blog, featuring reproductions of the site's black-and-white, high-immediacy, high-gloss photos to take on the difference between screen and print. On the title of the magazine, Barni says, "Every picture is a phanto," reasoning that because of the popularity of digital photography and online archives like Flicker and Facebook, "photography itself has become a phantom."

 

We asked Barni to pick five photographers of paricular immediacy:


Lately I have been fascinated by ANONYMOUS PHOTOGRAPHERS form the late 19th and early 20th centuries. Those are tintypes, magic lanterns, daguerrotypes... when a photograph was a happening and had defined social roles. Some are standard images, like portraits of babies held by their mothers hidden under a dark cloth or incredible "post mortem" poses... they are mysterious and haunting. Not by chance, the collection we visited for our first issue is based on this variety of images; a beautiful selection owned by artist Linda Fregni Nagler.


I also really like Japanese photography from the 1950s onwards; one of my latest "discoveries" is ASAKO NARAHASHI, for her beautiful series "Half Awake and Half Asleep in the Water."

(LEFT: ASAKO NARAHASHI, ZEZE, 2005. COURTESY OF YOSSI MILO GALLERY)


Current Issue
February 2012

And then AUGUST SANDER, who always  satisfies my voyeuristic side, with details that reveal at the same time a person, an era, and a nation.

(AUGUST SANDER, FARMER FROM THE WESTERWALD, 1910. COURTESY THE GETTY)



















I like RICHARD BILLINGHAM's photographs: beautiful and poignant.

(RICHARD BILLINGHAM, UNTITLED, 1995)









And last, but absolutely not least, UGO MULAS and his most conceptual work.

(UGO MULAS, LUCIO FONTANA, 1964)

Comments

SIGN IN TO ADD COMMENT

Add a Comment

Be the first to add a comment.

Page
1 / 2

Back to top