posts dedicated to general musings on art: theories, practices, education, exhibition and review.
posts dedicated to general musings on art: theories, practices, education, exhibition and review.
About the Scholarship
The John Chervinsky Emerging Photographer Scholarship seeks to recognize, encourage and reward photographers with the potential to create a body of work and sustain solo exhibitions. Awarded annually, the Scholarship provides recipients with a monetary award of $3,000, exhibition of their work at the Griffin Museum of Photography, and a volume from John’s personal library of photography books. The Scholarship seeks to provide a watershed moment in the professional lives of emerging photographers, providing them with the support and encouragement necessary to develop, articulate and grow their own vision for photography.
The scholarship is open to photographers who have produced individual works of photography and/or are in the process of producing bodies of work.
We are looking for candidates who are serious about photography, whose potential is emerging and whose photography will benefit from this scholarship. Candidates should not be currently enrolled in a photography degree program. There is no age limit. There are no residency requirements.
Photographers without gallery representation who have not exhibited solo in a gallery/museum setting or have not received significant (over $3000) grant funding are eligible (coffee shop, community gallery, library etc. are eligible exhibition settings). Past awardees of the Chervinsky Scholarship, paid employees of the Griffin Museum or their immediate families, Griffin Museum board members and jurors’ immediate families and those Griffin board members or jurors’ paid employees are not eligible.
This scholarship is not for well-established photographers. Well-established photographers are individuals in mid-photography-careers and are seen by the public and peers as distinguished in the field of photography and have many accomplishments as a photographer. Please note again that an artist who has had SOLO exhibitions in established galleries/museums or has gallery representation or received significant grant funding (over $3000) will be considered too accomplished to receive this scholarship.
Submissions may be made directly to the Griffin Museum gateway only (See below). You will be asked for a brief biography and artistic cv (a single pdf that includes both bio and cv); a statement of artistic purpose/intent; a statement on the work supplied, and flattened rgb jpgs (1200 pixels on the longest side) of your photographs (minimum of 10/maximum of 14 photographs). Naming convention is firstname-lastname-title.jpg.
Do not supply links. Our gateway will assemble your input into one area on our web host site and give the jurors the ability to go there to view and also download a pdf as needed. You will be able to insert text for artistic statement and project statement in the gateway application. No other means of submission will be accepted. All missing criteria will disqualify the submission. Emails will not be accepted as a method of submissions. It is recommended that great thought and effort be put into the artistic purpose/intent statement (see sample supplied).
Scholarship Dates and Deadlines
Read more and apply HERE >>>> Source: John Chervinsky Emerging Photographer Scholarship – Griffin Museum of Photography
In conjunction with the artist’s newest forthcoming publication, Bright Black World, Bruce Silverstein Gallery is pleased to present Todd Hido’s fourth solo exhibition. This dynamic presentation will feature new works from his highly anticipated monograph underscoring the influences of Nordic mythology and the notion of Fimbulwinter–an apocalyptic winter which is never-ending. Hido cites his experiences photographing in the darkness of Northern Europe, notably in Iceland as particularly enduring, as these lands are both foreign to the artist yet very familiar. His first body of work comprised of images predominantly made outside of the US, these pictures reveal in them a mysterious beauty both specific to this part of the world and no place at all, a hallmark of Hido’s enigmatic style.
Source: Bruce Silverstein http://www.brucesilverstein.com/exhibitions/todd-hido_3
Text by Elizabeth Stamp
Photography by Kerry Mansfield
Reading a book can often be a solitary venture. But reading a library book is a communal act. By checking out a volume, the reader becomes part of the history of the object, adding wear and tear and marking the checkout card with their name or a due date. For photographer Kerry Mansfield, library books are full of stories and are part of a disappearing shared experience that deserves to be studied and chronicled. Her photo series Expired captures former library books, showcasing the unique traits they’ve gained during their time in circulation. Mansfield photographed over 180 books to create the 175 photographs in the series. (She plans to shoot 75 more.) Seventy-three of the images have been collected into a book, each copy with its own library check-out card and envelope in the front.
Read the full story HERE >>>> Source: Architectural Digest A Beautifully Nostalgic Photo Series on Expired Library Books | Architectural Digest
this fall, the canadian photography institute of the national gallery of canada and the art gallery of ontario will co-present ‘anthropocene.’ these two new contemporary art exhibitions tell the story of the human impact on the earth and feature the work of photographer edward burtynsky.
in the year 2000, nobel-prize winning chemist paul jozef crutzen first popularized the term ‘anthropocene’ to describe a proposed new geologic era characterized by the evident ‘human signature’ on the planet. since then, the controversial idea has sparked a vigorous and passionate debate among an international group of scientists regarding the actual geologic credibility of the term. critics argue that while the proposition is eye catching, one cannot define a new geologic era without specifying its precise boundaries in the earth’s rock strata. this controversy surrounding the formal termination of the holocene and the beginning of this new ‘human epoch’ sparked photographer edward burtynsky’s ‘anthropocene project.’
burtynsky has been investigating human-altered landscapes in his artistic practice for 35 years. because much of humanity’s post-industrial impact is not entirely perceptible to the naked eye, burtynsky offers another perspective which makes these realities perfectly clear. this ‘human signature’ is depicted in sharp, visually compelling detail. the viewer is given the chance to experience places and practices each individual is indirectly connected to or responsible for but does not normally see. measuring at approximately 25’ wide by 12’ tall, these photographic murals deliver a visceral sense of scale, and allow viewers to examine — in exquisite detail — the intricacies of human incursions on the earth.
Read the full story HERE >>>> Source: designboom edward burtynsky captures the ‘human signature’ of the proposed new anthropocene era
From Louisianan Channel:
“We are so oversaturated with images, so it’s about one question: Can I hold you – can I get you to look at an image for longer than a second?” Watch Catherine Opie, Wim Wenders, Jeff Wall and 8 other artists on the power and potential of photography.
German filmmaker Wim Wenders (b. 1945) argues that each photograph is a sort of time capsule with an incredible relation to its own past and future. Congolese artist and photographer Sammy Baloji (b. 1978) is interested in how images can be used to create a sort of fiction from reality. This notion is echoed by American photographer Catherine Opie (b. 1961), who loves photography’s ability to create a history, as well as Canadian photographer Jeff Wall (b. 1946), who believes that a beautiful illusion “so similar to what we see with our eyes, it seems as though we’re looking through the surface.”
Indian photographer Dayanita Singh (b. 1961) looks to literature when she makes her photographs and similarly, American artist Roni Horn (b. 1955) draws from other art forms such as architecture and sculpture when working with photography. Finnish photographer Elina Brotherus (b. 1972) stresses the importance of vision, while Danish photographer Per Bak Jensen (b. 1949) comments that the pictures you create “are characterized by your view of the world”, a belief which is supported by German artist Thomas Demand (b. 1964), who argues that many things only really become visible via the images we see of them. Finally, Brazilian photographer Sebastião Salgado (b. 1944) comments on the powerful language of photography, just as Danish photographer and artist Nicolai Howalt (b. 1970) once felt that the camera provided him with a key to the entire world.
All interviews by Marc-Christoph Wagner, Christian Lund, Roxanne Bagheshirin Lærkesen, Mathias Ussing Seeberg and Michael Juul Holm, Louisiana Museum of Modern Art, except Roni Horn, who was interviewed by Dayanita Singh.
Produced and edited by: Roxanne Bagheshirin Lærkesen Cover photo: ‘Summer Afternoons’, 2013 by Jeff Wall Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2017
CALL FOR ENTRIES
The Print Center is very pleased to announce the 93rd ANNUAL International Competition juried by José Diaz and Lisa Sutcliffe. Diaz is the Chief Curator at The Andy Warhol Museum, Pittsburgh. Lisa Sutcliffe is the Curator of Photography and Media Arts, Milwaukee Art Museum.
The ANNUAL is one of the oldest and most prestigious competitions in the United States. The Print Center is particularly interested in highlighting local, national and international artists who utilize photography and printmaking in new and intriguing ways, both in content and process.
Any artist using Photography and/or Printmaking as critical components in their work can enter. Artists whose work pushes the boundaries of traditional photographic and printmaking practices are encouraged to enter.
June 12, 2018, 11:59pm (EST)
Entries are accepted online. Click here to apply
Click here to download the Prospectus as a pdf
Entry Fee – $45
Visa, MasterCard, American Express and Discover cards are accepted.
Any artist using photography and/or printmaking as critical components in their work can enter. Work submitted must have been completed in the last three years. Up to five images may be submitted and only one submission per person is allowed.
Images: Up to 5 MB/each: jpg, png, gif
Videos: Up to 250 MB/each: mov, wmv, flv, mp4
Each uploaded file must be labeled with Title, Date, Medium (e.g. etching, inkjet, gelatin silver, lithograph) and Size (paper size, video duration or installation size).
Awards + Prizes
Entry Deadline: June 12, 2018, 11:59 PM (EST)
Notification (by email): September 5, 2018
Solo Exhibitions: January – April 2019
Online Exhibition: Begins January 2019
Read more and apply HERE >>>> Source: The Print Center http://printcenter.org/100/93rd-competition/
This Land focuses on work made throughout the United States within the past decade. The photographers assembled here examine aspects of the country’s current social climate, from the mundane to the politicized.
The exhibition’s title is drawn from Woody Guthrie’s song “This Land Is Your Land” (1940). Viewed by many as an alternative national anthem, it alludes to the uneasy tensions fundamental to our vision of this nation filled with promise and peril, possibilities and letdowns. At the bottom of the sheet of paper on which Guthrie handwrote the song’s lyrics, he noted, “all you can write is what you see.” The artists included in this exhibition use cameras rather than pens, creating photographs that speak to what they see in the United States today.
The projects on view—created by emerging as well as established photographers—are in-depth studies; some were made over several years and others remain ongoing. While no exhibition can claim to definitively address all aspects of the American experience, This Land offers diverse vignettes of life in the United States. Coinciding with a moment of widespread engagement in political and social issues, the exhibition encourages viewers to look closely and consider how these photographs may complement, contradict, or challenge their understandings of the current social landscape and life in this country. In a world where information sharing is abundant and instantaneous, passive consumption can easily become the norm. The works presented in This Land provide viewers with the opportunity to look, engage, and reflect about the people, places, and conditions shaping the discourse about this nation. Like Guthrie, these artists can impact us, awakening feelings that can transform the present and affect the future.
Dawoud Bey | Guillermo Galindo | Bruce Gilden | Jim Goldberg | Katy Grannan | An-My Lê | Richard Misrach | James Nares | Paolo Pellegrin | Daniel Postaer | Alessandra Sanguinetti | Bryan Schutmaat | Alec Soth | Deanna Templeton | Ed Templeton | Brian Ulrich | Corine Vermeulen | Donovan Wylie
Read the full content and get extra educational materials HERE >>>> Source: Exhibitions – Pier 24
by Ari Shapiro
For decades, Americans have seen celebrities through photographer Mark Seliger’s lens. His work has appeared in magazines such as Vanity Fair, GQ and Rolling Stone.
“Having a sense of humor” is important to the work, he says. “Whether it’s a big concept or whether it’s a wink.”
Seliger has dressed up Jerry Seinfeld as the Tin Man and photographed the back of Barack Obama’s head. But he’s prepared if celebrities aren’t game for his portrait ideas. “I always have a backup plan … ” Seliger says. “At times, the simplest portrait is the hero — it’s the one that works the best.”
Now, a new coffee table book called Mark Seliger Photographs collects some of the best images from his last 30 years, including presidents, actors and rock stars.
On how his humorous ideas don’t always work out
We wanted to paint the Red Hot Chili Peppers red and have smoke coming out of their mouths. And I was told by the band that that was not going to happen. But Flea [who’s] one of the band members, very sympathetically decided that he would allow me to paint him half-way on his face. And I went ahead and did that and he looked at me and he said, “Yeah, we’re not going to do this.” … It was a bad idea. … I have to admit that I’ve had some real loser ideas, too.
Read the full story HERE >>>> Source: NPR ‘Get Something That No One Else Has Gotten’, Says Photographer Mark Seliger
By Conor Risch
This is an exciting time for photography book publishing. Digital printing has lowered the costs and other barriers to self-publishing, and new, small publishers seem to crop up every season with interesting projects. “The beauty of where we’re at right now is that there are many different options for making a book,” says Aperture Foundation Publisher Lesley A. Martin. While more books are being produced, the level of interest in photography books has also increased.
Yet publisher Dewi Lewis tempers this optimism by making a couple of important points. The first is that the increase in the number of books being produced hasn’t necessarily led to more buyers. “That increased interest [in photo books] hasn’t really converted to sales,” Lewis says. The second, related point, is that “the majority of these books are being funded by the photographers themselves.” This doesn’t necessarily mean that photo book publishers are interested in books only if a photographer is willing to subsidize the production. But it does mean that some publishers are seeking to lower their financial risk when they publish a book. “It’s a market that’s being driven in a way which is almost certainly unsustainable in the long term,” Lewis argues.
Trade publishers offer photographers a different opportunity than publishers focused primarily on photo books. They publish very few monographs or fine-art photography books, but they do publish dozens of books that utilize photography to explore subjects that may interest a wider audience. For example, fashion, food, interior design, and science and nature are some of the big categories for Abrams, says VP and Editor-in-Chief Eric Himmel. If a photographer has produced work on one of these perennially popular topics, “then the opportunities [to publish the work with Abrams] get larger.”
PDN recently spoke with five experienced editors and publishers, at both specialty photo book publishers and trade publishers, to get their take on what photographers should consider when they’re thinking about pitching a book to publishers.