Pradip Malde is a photographer and teaches at the University of the South, Sewanee, TN. Much of his work considers the experience of loss and how it serves as a catalyst for regeneration. He is currently working in rural communities in Haiti and Tennessee, designing models for community development through photography. Works are held in the collections of Museum of the Art Institute, Chicago; Princeton University Museum; Victoria & Albert Museum, London and the Scottish National Portrait Gallery, Edinburgh, among others.
About Pradip Malde in Detail
Links to other online work
Articles and news
September 11, 2014: Vanderbilt Medical school, “Zanmi Foto: photography
and community development in Haiti”
On September 11, 2014, 6-7pm
Light Hall, Room 214, 1301 Medical Center Dr, Nashville, TN 37232
Open to the public and sponsored by the VMS Global Health Organization
About the the talk: There is considerable evidence that photography can be used as a therapeutic and educational tool. Using photographs made by Haitian community partners and myself, this talk provides an overview of the Haitian condition, describes specific concerns and describes how photography is being used to enhance community development initiatives.
August 1-2 2014: I’ll gave a talk and ran a discussion at The 2014 Creativity Seminar at Austen Riggs Center, Stockbridge, Massachusetts, USA. Intended for therapists, this year’s conference considered “the process of translation in different areas of creative endeavor in the visual medium of photography, through the embodied work of translation by an orchestral conductor [I was particularly thrilled to meet and work with Sara Jobin], via the interpretative work of translation by a psychoanalyst, and by means of the multilayered acts of translation in theater. Our aim is to understand more deeply the subjective and objective nature of interpretation and translation and to stimulate our use of these ideas in our various clinical, educational, and other settings.
Patients and therapists are constantly engaged in the practice of translation. Translation is a creative act involving the intersection of objective practice and subjective meaning. In the “talking cure,” desires, thoughts, fantasies, symptoms, and dreams are gradually metamorphosed (in part) into words and sentences, which render them meaningful in an intersubjective context and make them more accessible to conscious control. Similarly, we can see that composers, artists, actors, conductors, and translators of literature from one language to another engage the same way. How does translation work? What is it in a translation that gets carried over, and what gets left behind? How can we understand more about the elements that spill over outside the bounds of what is conscious and controlled and affect it?”
Jan. 2013: My colleagues, Prof. Karen Yu, Sewanee and Prof. Linda Mayes, Yale and I have received a major grant from a private foundation, for Camp Discover / The Discover Together Collaborative to provide an integrated approach to family engagement, effective teaching, and systems alignment in Grundy County, TN. Read more about this project and also about how it links with a current set of classes taught by us here.
Pradip Malde generously cited, and featured with Mike Ware in
‘Guide to Photographic Alternative Processes: Popular Historical and Contemporary Techniques‘
by Jill Enfield, Focal Press
Chapter 8: Platinum and Palladium printing, pages 131-147
Milke Ware and Pradip Malde cited in
‘The Atlas of Analytic Signatures of Photographic Processes: Platinotype’
by Dusan C. Stulik and Art Kaplan, The Getty Conservation Institute
Hand-bound volumes of the book, The Third Heaven have been acquired by the collections of the Victoria and Albert Museum’s National Art Library, London and by Virginia Commonwealth University’s Special Collections and Archives at the James Branch Cabell Library, Richmond, VA.
David Chow writes an extensive article about my work on The Art of Platinum Printing blog
Tom Normand, in his book, Scottish Photography: A History, ‘examines the photograph as an object, a form of documentary, and as a memorial; and the ways in which the Scottish connection has altered or defined these forms.’ [from the cover notes] – read his discussion of my work in this book
interview in La Informacion about Haiti and my work there