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.
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.
by Javier Pes
Classic images by the big beasts of photography are on show—and sale—at Photo London, the fourth edition of which opens to the public today, May 17, at Somerset House. The fair offers exhibitions of works by its 2018 Master of Photography, Edward Burtynsky, and one of the founding fathers of the medium, William Henry Fox Talbot, plus classic images by the likes of Brassaï and Bill Brandt, among many others. At the same time, collectors are sure to find fresh talent as well.
Here’s our pick of seven young artists who are stretching the medium, giving its traditions a fresh twist and attracting the interest of collectors and curators. One of them, Tania Franco-Klein, has already added a new prize to her burgeoning resume, winning the Photo London Artproof Schliemann Award 2018, which was announced last night. Something of a double whammy, the young Mexican artist who studied in London gets two residencies, one in Arles funded by Joana and Henrik Schliemann and the second in Tallinn at the Artproof workshop, which comes with a €10,000 ($12,000) production budget to create new works.
The Belgian photographer Bieke Depoorter (b. 1986) was just 25 when she joined the Magnum collective. She became a full member in 2016. Her “collaborative portrait,” of Agata, a young woman she met in a Paris strip club, is part of an ongoing series. “They have just been to Athens,” says Sophie Wright, Magnum’s global cultural director.
In the past Depoorter has asked strangers if she should stay the night in their homes, including in Egypt. “It is an incredibly brave slash crazy thing to do,” Wright says. Depoorter’s work will be featured in Magnum’s space in London in the fall in a group show with two leading US Magnum members, Carolyn Drake and Susan Meiselas. Her work at the fair is priced at £3,800 ($5,122), edition of seven.
The Munich-based artist Fiona Struengmann, who is a graduate of Parsons, has been mining an archive of around 7,000 found photographs and producing her own manipulated images. She transforms the snapshots of ordinary life in Germany from the 1920s to the 1950s by honing in on telling details, drawing attention to the way a woman is seated or a hand gesture, then blanking out the background, sometimes adding tiny drops of gold paint. Each is unique and at first glance the delicate monochrome images look like drawings.
“I was in a flea market and a woman came up to me and said ‘I have something for you,’” she explains of the source material. The artist kept some untouched but the rest form the basis of her series “Just Like You, But Different.”
She tells artnet News that she has discovered another trove, this time in France, this one “about slavery and colonialism.” Once again, a collector wants her to mine his archive.
Unique works at Photo London range from £800 to £1,350 ($1,000 to $1,820).
Photo London is on May 15 through 20 at Somerset House, London.
Read the full story HERE >>>> Source: Artnet News 7 Young Artists Making a Big Impression at Photo London | artnet News
By Brad Feuerhelm
I chose to reference a modern psychological house or hotel of horrors in which to situate this interview with Roger. I did not feel that I could express the way his work infects my thoughts by regurgitating historical tract or placing uncomfortable cultural analysis on his methodology. That has been covered may times in the past and the work needs less and less validation as one becomes more and more familiar with it. There are questions, but with those already answered, it felt somehow more palatable to speak about it with Roger through symbolism. I appreciate that he took the time and effort to work with what I presented him. I wanted theater and theater I got. Sincere thank you to Roger.
BF: “Tony is the little boy that lives in my mouth”
I feel like I never really understood you or your symbols. There was some desire to place you in a context-a construct of my own reality as if filtered through the commodification of my artistic interest in death externalized by my own architecture in pithy incongruent misgivings of self-loathing and a disobedient compassion for things that make other people look away. I wanted to place you in this box with me, but I never wanted a dialogue. I wanted to retreat, like Tony into my stomach as Danny. I am older now. I have found less compassion in myself, but have justified this with an ability to recognize in others the solipsism that binds us all to the chain of being human-the one-point perspective, the orange carpet and the inevitable moldy shower curtain pinned to the skin of the woman in room 237.
Our future environments are cast from the mold of our youth. We extract and interpret and fabricate our necessities that have been previously dictated to us through our wanders through basements and attics alone and unsure, the single solitary light bulb our only friend-the belief that we have an extra three seconds to run up those creaky stairs before darkness tries to grapple with our untied shoes. It is a reversal of an excavation-it comes from Tony’s home, leaving small chapped lips, catching ever so slightly on the baby teeth we have yet to lose. “Are you lost”? “I’m just …will say anything to you”. “Tell lies”? “Anything”. How were you as Danny? A life…has beginnings…where did you find your symbols?
Please recount your genesis with photography, including your mother’s influence with Magnum. Perhaps speak to us a bit about your travels, Kertesz and South Africa. Did America make your eyes?
RB: A shadow runs through my work. The shadow spreads, grows deeper as I move on, grow older. The shadow is no longer indistinguishable from the person they call Roger. I track my shadow (life) through these images.
It is always difficult to exactly know why one ended up the way one has. Life is not a straight line, nor can we remember all the subtle influences that pushed us in one direction or another. Besides the factors of day to day life, there is something to be said about our genes that separate one living thing from another.
My mother joined Magnum in the late 1960’s and worked as an assistant to some of the most famous photographers in the world. A few years later she started one of the first photographic Galleries New York.
My mother’s passion for photography had a deep influence on me. On the walls of the house were great photographs and the photo books were everywhere. By the time I was 18 years old I had a heightened awareness of what comprised an important photograph.
One of her favorite photographers was Andre Kertesz who I often stated, taught me that photography could be an art form.
(All Rights Reserved. Text @ Brad Feuerhelm. Images @ Roger Ballen.)
Read the full interview HERE >>> Source: American Suburb X Roger Ballen: Ballenesque Interview