8.17.2019

LEICA WOMEN FOTO PROJECT AWARD 2019 Her Legacy Interview with Elizabeth Avedon

 "fossil of light + time" Cover photo: Sean Perry
Detroit Center for Contemporary Photography

 Avedon: 1947–1977 
Farrar, Straus + Giroux, 1978

"Borne Back" Tintypes by Victoria Will
Peanut Press Books, 2019

"Vintage Contemporary Artists" Interview Series
Elizabeth Avedon Editions/ Random House, 1978

"I want photographers to be courageous and strive to create consistent work. Their personal stories, passions, and vision will ensure the work is seen as uniquely their own." 

Leica Women Project  Her Legacy: Elizabeth Avedon
Independent curator, photo book and exhibition designer, Elizabeth Avedon, shares her perspective as an industry leader in the world of photography.

1. What drives your commitment to the art of photography?


Having worked with many of photography’s past icons, I am now interested in the work of emerging photographers who will someday shape the future of photography. I continue to be drawn to the magic of photography, and I love the surprise of how each new generation of photographers bring their own uniqueness to elevate us to a new and unseen realm.

2. What are some of the challenges you’ve encountered in the world of photography?

I was fortunate to begin my career working and socializing with some of the most successful photographers and art directors of their time - although being very young I wasn’t aware of how lucky I was. The challenge came 15 years later when I became over saturated with photography and turned my attentions towards contemporary painters creating a set of interview books for Random House with contemporary artists including Robert Rauschenberg and Louise Bourgeois. Not finding the ‘art world’ to be more enlightening than photography, I then worked with some well-known photographers in advertising and fashion, on print magazines and the early world of online photo magazines.

Feeling I’d explored all New York had to offer, I moved to New Mexico briefly where I was Gallery Director at Photo-eye. While living in Santa Fe, I attended several very inspiring talks by photo dealers, David Scheinbaum and Janet Russek, at their gallery Scheinbaum & Russek. Early in their careers, Janet had assisted Eliot Porter and David worked with and printed for the preeminent photography scholar, Beaumont Newhall, as well as Ansel Adams. One night a month they invited photographers and collectors into their gallery, sharing antidotes from their past experiences and passing around extraordinary vintage prints by some of histories most iconic image makers.

I returned to New York re-inspired and with a renewed outlook and appreciation for the new up-and-coming generation of photographers, which has only grown exponentially each year since.

3. Of all the projects you have worked on, which one left an indelible impression on your current point of view?

It started with Richard Avedon’s fashion retrospective book and exhibition, “Avedon: 1949–1979”, I designed for the Metropolitan Museum of Art in 1979. What I learned crafting that eight year project, gave me the tools to work with throughout my career. The project began in the years before computers and digital files, taking a team of darkroom printers many years round-the-clock to print contact sheets of all of Avedon’s fashion shoots from over 40 years. The contact sheets were in chronological order in endless cartons and took several years to edit with RA, then creating an extensive book dummy. I redesigned the space at the Met, the Dallas Museum of Fine Arts and several other museums across the country and Japan for the accompanying exhibition. I was able to tap into the lessons learned from that experience when designing Avedon's “In The American West” exhibition to fit the Amon Carter Museum’s unique architectural design, as well as refitting the show for the Corcoran Gallery of Art, the High Museum in Atlanta, the Art Institute of Chicago, the Phoenix Art Musem and others.

4. Who are some of the photographers (deceased or living) that inspire your perspective and approach to photography?

I was fortunate to have had Tod Papageorge as my first photography instructor, as he was such a traditionalist and a Leica lover. Papageorge later held the position of Director of Graduate Study in Photography at Yale for over 3o years, and received two Guggenheim Fellowships and two NEA Visual Artists Fellowships. In his world there were only a few true photographers worth studying – Henri Cartier-Bresson, Brassai, Atget, Koudelka, Walker Evans, Robert Frank, and his best friend, Garry Winogrand.

I was also influenced by the work of Dorothea Lange, Bernice Abbott, Helen Levitt and now Vivian Maier. Inspiring to me for different reasons and in different ways are Sally Mann, Mona Kuhn, Carrie Mae Weems, Maggie Steber, Ruddy Roye, Julie Blackmon and many more contemporary photographers too numerous to name.

5. Based on your experiences in the world of art & culture, what advice would you give the next generation of photographers?

It might sound like a cliché, but anyone can copy something currently popular. I want photographers to be courageous and strive to create consistent work unlike anyone else’s. Their personal stories, passions, and vision will ensure the work is seen as uniquely their own.

6. Are there topics you have not yet seen covered, that you feel are important to explore?

What I most want to explore are the photographs that are unique, the ones you can't quite explain that call to be looked at again and again.

7. In your opinion, how does photography impact culture, and vice versa?


As one of my mentor’s Jean Jacques Naudet, L’Oeil de la Photographie Editorial Director, said to me in an interview, “Photography has never been as fashionable as now. Photography has replaced the verb in communication. In fact, Photography IS the communication now.”

I believe photography has always informed us how to see the physicality of our experience. In turn, that familiarity allows us to deepen our awareness and connect back with new understanding. Photographs are the cultural road markers forward.

8. What is one piece of advice you would offer to applicants of the Leica Women Foto Project award?


Pay attention to each individual image you submit. So often in competitions, I will see work by exceptional photographers I’ve met at a Portfolio Review whose work is terrific; however, the work they submitted to the competition is mediocre, or the images don’t work with each other. Remember, each image is new to the juror and should support and propel your project forward. 

Get a closer look on Elizabeth Avedon's perspective on photography: 

Continue the journey with Elizabeth on social media:

In The American West: Richard Avedon
Harry N. Abrams, 1985

 Portraits: Richard Avedon
Farrar Straus + Giroux, 1976


 LEICA WOMEN FOTO PROJECT | AWARD 2019
Call For Entries is Open to August 29, 2019

The first LEICA WOMEN FOTO PROJECT AWARD, dedicated to the female perspective and its impact on visual storytelling. In support of diversity in photography, Leica CameraUSA is seeking 3 photographers to receive $10,000 + 1 year loan of a Leica Q2 to support a personal project expressed through the female perspective.

Applicants will be reviewed on the basis of quality of photography, dedication to the medium of photography, sophistication of project, with narratives that broaden perspectives, ideas and conversations on today’s social and political climate.

 MORE INFO: https://bit.ly/LeicaWomen

Applications will be judged by a renowned panel of industry voices including:

Karin Kaufmann: Art Director & Chief Representative, Leica Galleries International
Maggie Steber: VII Agency photographer and Guggenheim fellow
Laura Roumanos: Executive producer and co-founder, United Photo Industries
Elizabeth Avedon: Independent curator, photo book and exhibition designer
Deborah Willis: University professor and Chair of the Department of Photography & Imaging at the Tisch School of the Arts at New York University and author of Envisioning Emancipation: Black Americans and the End of Slavery 

Candidates for the award are requested to submit a series of 10 images from a personal or long-term project, made on any digital or film camera of any make, model or brand, with at least 4 images created between 2018-19. Alongside the images, applicants are required to submit a 500 word proposal describing their personal project and its relevance in today’s social climate, including detail of how the funds will be allocated.

NO PURCHASE NECESSARY. Void where prohibited and outside US.  Must be legal US resident 21+ at entry, and must not be affiliated with competitor of Sponsor. Entry must adhere to Submission Guidelines. Winner may not partner with competitor of Sponsor for 1 year.  

Official Rules http://bit.ly/LeicaWomenFotoProjectRules
MORE INFO: https://bit.ly/LeicaWomen

14th JULIA MARGARET CAMERON AWARD for Women Photographers 2020

Photograph ©  Patty Maher
13th Julia Margaret Cameron Award Winner 

Photographs ©  Patty Maher
13th Julia Margaret Cameron Award winner for her
series "Elemental" Juried by Elisabeth Biondi





The 14th Julia Margaret Cameron Award for Women Photographers is open for Entry.  Open to women photographers worldwide, pro and amateur, working in all mediums, styles and schools of thought. The winners in Pro and Non Pro Sections will have fully-paid solo exhibition in Barcelona 2020. Deadline to enter is Sept 15, 2019. 
Jurors

Elizabeth Avedon (Independent Curator), Rebecca Robertson (Editor PDN),  and Analy Werbin (Curator, Biennial of Fine Art + Documentary Photography)

8.06.2019

LOS ANGELES CENTER OF PHOTOGRAPHY: Exposure Weekend 2019 + Portfolio Reviews

Workshop With Douglas Stockdale • Photograph by Douglas Stockdale

Portfolio Reviews • Photograph by Julia Dean


The Los Angeles Center of Photography's Fifth Annual Portfolio Reviews. EXPOSURE WEEKEND 2019 will be filled with reviews, classes, seminars, exhibitions and networking events. Reviews are 20 minute face-to-face meetings with gallery owners, photo editors, museum curators, publishers and other photo professionals. In addition to the Portfolio Reviews, Exposure Weekend will feature several Workshops and Seminars

Friday – Sunday, September 13-15, 2019
Hotel MdR / Doubletree by Hilton
Marina del Rey, CA


8.03.2019

LEICA WOMEN FOTO PROJECT | AWARD 2019: Call For Entries

Photograph © Maggie Steber

Photograph © Maggie Steber

Call For Entries is Open to August 29, 2019

I’m thrilled to be on the panel of judges for the first LEICA WOMEN FOTO PROJECT AWARD, dedicated to the female perspective and its impact on visual storytelling. In support of diversity in photography, Leica CameraUSA is seeking 3 photographers to receive $10,000 + 1 year loan of a Leica Q2 to support a personal project expressed through the female perspective.

Applicants will be reviewed on the basis of quality of photography, dedication to the medium of photography, sophistication of project, with narratives that broaden perspectives, ideas and conversations on today’s social and political climate.

Applications will be judged by a renowned panel of industry voices including:

Karin Kaufmann: Art Director and Chief Representative, Leica Galleries International
Maggie Steber: VII Agency Photographer and Guggenheim Fellow
Laura Roumanos: Executive Producer and Co-founder, United Photo Industries
Elizabeth Avedon: Independent Curator, Photo-book and Exhibition Designer 
Deborah Willis: University Professor and Chair of the Department of Photography + Imaging at the Tisch School of the Arts at New York University and Author of Envisioning Emancipation: Black Americans and the End of Slavery


Candidates for the award are requested to submit a series of 10 images from a personal or long-term project, made on any digital or film camera of any make, model or brand, with at least 4 images created between 2018-19. Alongside the images, applicants are required to submit a 500 word proposal describing their personal project and its relevance in today’s social climate, including detail of how the funds will be allocated. 

NO PURCHASE NECESSARY. Void where prohibited and outside US.  Must be legal US resident 21+ at entry, and must not be affiliated with competitor of Sponsor. Entry must adhere to Submission Guidelines. Winner may not partner with competitor of Sponsor for 1 year. 



7.17.2019

WATER 2019 : PhotoPlace Gallery

Jurors Award 
Point 660, 2, 08, 2008
© Olaf Otto Becker

Directors Award 
Rage 
© Lynn Savarese

Honorable Mention
Untitled #3. Into the Deep
© Sandra Chen Weinstein 

Honorable Mention
Running  
© Leslie Jean-Bart

Honorable Mention
Raising Goosebumps #2
© Cate Wnek

 Andrew, Rio Celeste No. 2
© db Waltrip
 
Water #6
© David Reinfeld

Nature of Water 3
© Benjamin Bobkoff

 Alien Twins
© Aimée Hoving

 Celadon
© Sarah Schorr

Juror: Elizabeth Avedon 
PhotoPlace Gallery

Seventy percent of the world's surface is covered by water. It shimmers, it soothes, it heals, it brings joy. It can be devastating in its destructive force, and equally devastating by its absence. How fortunate we are to be able to travel to places where clean water is still abundant that we can swim and play, document and create art, in and around it. It is easy to take for granted, considering it may soon be our most expensive commodity. The magic of the submitted images ranged from the very realistic, documenting the fragility of our disappearing glaciers, to the mysterious, focusing on the beauty and perfection of even the smallest precious drop.

The Juror's Award "Point 660, 2, 08,2008” goes to Olaf Otto Becker, who photographed the measuring station Swiss Camp, Greenland, where glaciologists and climate researchers work on predicting the planet's future. "Point 660, 2, 08,2008” is a formidable landscape and popular tourist spot where taking photographs of one another may soon be over. In one hundred years Becker’s photographs may be all that's left to view of this extraordinary world.

The Director's Award goes to Lynn Savarese and her black and white image "Rage" at Fossar: Icelandic Falls. Lynn has photographed some of the world’s more colossal waterfalls, this one being one of Iceland’s tallest.

Honorable Mentions goes to Leslie Jean-Bart, Sandra Chen Weinstein, and Cate Wnek.

View the entire Gallery + Online Gallery exhibition here. Thank you to all who entered.  — Elizabeth Avedon

Juror: Elizabeth Avedon
 thru August 10, 2019
PhotoPlace Gallery
3 Park Street
Middlebury, Vermont


Many images are available for purchase!
Inquire: photos@photoplacegallery.com 

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The Water Project: TheWaterProject.org
FreshWater Watch: freshwaterwatch.thewaterhub.org
4ocean Clean-up:  https://4ocean.com

 Northwestern Glacier
© Frank Zurey

 Nymph, 2019
 © Paola Telesca

 
Sea Lion
© Caren Winnall


 
Many images are available for purchase!
 
Inquire: photos@photoplacegallery.com 

7.09.2019

PHOTOS DAY OR NIGHT: THE ARCHIVE OF HUGH MANGUM: By Sarah Stacke

The grid of nine photos on one glass plate negative and the sequence shows the actual order Hugh Mangum’s clients entered his studio on a particular day. Images courtesy of Sarah Stacke and Hugh Mangum Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University

 "This has long been one of my favorite Hugh Mangum portraits."– Sarah Stacke

Images courtesy of Sarah Stacke and Hugh Mangum Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

Images courtesy of Sarah Stacke and Hugh Mangum Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

Image courtesy of Sarah Stacke and Hugh Mangum Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

Image courtesy of Sarah Stacke and Hugh Mangum Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

Images courtesy of Sarah Stacke and Hugh Mangum Photographs, David M. Rubenstein Rare Book & Manuscript Library, Duke University.

 Photos Day or Night: The Archive of Hugh Mangum
by Sarah Stacke, with texts by Maurice Wallace and Martha Sumler
Red Hook Editions, 2018 / Book Design: Bonnie Briant
 

I was recently introduced to Sarah Stacke's extraordinary book, "Photos Day or Night: The Archive of Hugh Mangum," brilliantly designed by Bonnie Briant. The book is a close-up look at the life and work of early 20th century Southern American photographer Hugh Mangum. Photo archive curator Stacke collaborated with Mangum’s granddaughter, Martha Sumler, and the result is a stunning look at never-before-seen photographs and ephemera from their family archive. This is now one of my favorite photography books!

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"Inside his photo studio, Hugh Mangum created an atmosphere–respectful and often playful–in which hundreds of men, women, and children felt comfortable being whoever they wished in that moment of photographic description. As a result, Mangum's images of early twentieth-century Southern society show personalities as immediate as if they were taken yesterday. . ." – Sarah Stacke

"Born in 1877, the year the Civil War’s Reconstruction period ended, Mangum died in 1922, only three years after the First World War and two years after women gained the right to vote. During his lifetime the final battles of the Indian Wars were waged and the first law limiting the number of immigrants allowed in the U.S. was passed. The personalities in Mangum’s images collectively, and often majestically, symbolize the triumphs and struggles of this pivotal era. An itinerant photographer primarily working in his home state of North Carolina and the Virginias, Mangum cultivated clientele from across racial and economic divides. Though the American South of his era was marked by disenfranchisement, segregation, and inequality, Mangum portrayed all his sitters with candor and heart. Above all, he showed them as individuals. A century after their making, Mangum’s photographs allow us a penetrating gaze into faces of the past, and in a larger sense, they offer an unusually insightful glimpse of the South at the turn of the twentieth century. His “portraiture hints at a counter-history…few white Southerners besides Mangum dared to reflect,” writes Prof. Maurice Wallace of the University of Virginia, in the book.
 
Notably, the camera Mangum used was designed to create multiple and distinct exposures on a single glass plate negative. The sequence of the images on a single negative represents the order Mangum’s diverse clientele rotated through the studio, thus representing a day’s work for  this gregarious photographer.
 
In the years Stacke has spent with the Mangum Collection––imagining the distinct personalities and lives, their relationships to each other and to Mangum––the collection has evolved to represent a family album to her. Not only as its own entity, unfurled by the welcoming and harmonious spirit of Hugh Mangum, but also in the way she’s formed relationships with the images and individuals in them." 

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Sarah Stacke is a photographer, photo archive curator and writer based in Brooklyn, New York. In 2012 she received a master’s degree from Duke University tailored to analyze photographic representations of African and African-American communities. For her capstone project Sarah extensively researched Hugh Mangum’s archive and curated the first-ever solo exhibition of his work, which was shown at Duke’s Center for Documentary Studies (CDS) in 2012. Shortly thereafter she wrote pieces for The New York Times and Aperture about Mangum and curated a major installation of his work at the Asheville Art Museum. Sarah has been an instructor at CDS since 2013 and is an adjunct professor at CUNY’s Craig Newmark Graduate School of Journalism and the International Center of Photography, where she teaches a course about the role archives play in society.

In her photography work, Sarah looks at daily life in communities whose geographic borders were formed during periods of colonization. Often spending time with a community over the course of months or years, she looks at the intersection of culture and memory and questions how land, and the loss of it, shapes identities. Select clients include National Geographic, The New York Times, The New Yorker, BuzzFeed and Photo District News.



6.30.2019

ADVANCED PHOTO-EDITING WORKSHOP IN NYC: With Elizabeth Avedon and Magdalena Sole


"In the world of fine art and documentary photography it is essential that work is well edited. Whether preparing for portfolio reviews, book proposals, gallery shows or a magazine story, a solid foundation in the fundamentals of editing and sequencing are necessary tools in the current art market." – Elizabeth Avedon

We’ve all been there, wallowing in hundreds of images, each a little different from the next. What to choose? In this five-day workshop, independent curator and photobook designer Elizabeth Avedon partners with award-winning social documentary photographer Magdalena Solé to help you hone your eye for efficient self-editing. We will learn to edit large bodies of your work in a practical way towards selection of the best images; how to quickly differentiate between good pictures and those that are not and why; create a consistent look or a narrative theme; and work on sequencing.

Special Guest: Corinne Tapia, Founder and Director of New York's Sous Les Etoiles Gallery, will be available for our own Q+A session.

In this workshop you will develop skills:

    • To organize your images into a cohesive project
    • To prepare for a portfolio review
    • To create a digital projection
    • To create a photo book

The workshop will be held August 19 – 23rd, 2019 in a beautiful, professional space in the Chelsea area of NYC. If you’ve been thinking about going the next step with your body of work, register now! Join us for this fun and dynamic workshop! 

Register now: 


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Comments from past participants


”I have been a fine art photographer since I was a teenager. My eduction stressed the importance of the stand alone image; we rarely discussed the importance of editing our work for a portfolio suitable for book publication or web presentation. This workshop brought it all together for me. Drawing upon the expertise of Magdalena (Sole) and Elizabeth (Avedon), I was able to see my images and sequence them in new ways. Their insights have helped me to see my images with new meaning. I would recommend this workshop to anyone who wants to create a portfolio, and also self publish their work in book form or web based media. After completing this workshop, I have become a better fine artist.” - David Reinfeld

“It was an honor for a photographer of many years like myself to benefit from Elizabeth’s and Magdalena’s insights. A wonderful learning process.” - Owen Luck

“How fortunate to have attended the Editing Workshop with such a great group of talented photo artists led by a remarkable team. Elizabeth and Magdalena, thank you, thank you! The editing process is streamlined and efficient, revealing how each image serves the whole as we fine tune our unique visual voice. It was inspiring to share in this process as we witnessed each other’s project’s take shape, often in unexpected ways that pushed us beyond our comfort zone — always a good thing!” - Dawn Watson

“This is a terrific opportunity. It was of immense help to me in how I think of my work, and a lot of fun! And I met some terrific artists!” - E.E. McCollum

“This workshop was an all-around positive learning experience. Elizabeth and Magdalena were exceptional instructors and I found myself surrounded by talented classmates. Daily critiques were honest, encouraging, and eye-opening. I learned to see my photographs through others’ eyes. I returned home feeling stronger both personally and artistically.” 

Jo Lynn Still

 

6.22.2019

CANDELA: Pine Tree Ballads by Paul Thulin

 Pine Tree Ballads by Paul Thulin (Candela Books)

 Pine Tree Ballads by Paul Thulin
 
Pine Tree Ballads by Paul Thulin

Pine Tree Ballads by Paul Thulin

In the early 1900s, artist Paul Thulin's great-grandfather settled on an island off the coast of Maine because it resembled his homeland of Sweden. Over a century later, his family returns to the same area, Gray's Point, each summer.

Throughout his life, Thulin's great-grandfather shared exquisitely detailed accounts of early settlers at the New England apple orchard; Such characters include a one-legged ship cook, a widowed schoolteacher, and an ingenious Native American blacksmith. The tales were an intricate mix of facts and lore that fueled the imagination and, on occasion, had the power to transform daily floorboard creaks and shadows into enduring ancestral spirits.

Pine Tree Ballads is a poetic memoir, featuring the artist’s daughter, wife, mother, and grandmother as a single protean character (or multiple characters?) vibrating in time, navigating the mysteries and menace of a shared ancestral forest. This deeply personal photographic sequence is part visual narrative of family myths and part origin story. Pine Tree Ballads is fueled by both truth and imagination, which, in many instances are the fundamental ingredients of our personal history. The "docu-literary" structure of this monograph celebrates and fully exploits the duplicitous nature of photography/text to be simultaneously interpreted as both fact and fiction. At the surface, this project explores the emotive, contextual, and material constructs of history, culture, personal identity, memory, and folklore.


PaulThulin.com

Text Courtesy Candela Books

6.21.2019

URBAN DANCE: Visual Rhythm of Cities

New Jersey from the series ’New York to Los Angeles’
Photograph © Ashok Sinha

Pride: Gold Masks
Photograph © Margaret McCarthy

No Matter Where | Glasgow-1
Photograph © Sheri Lynn Behr

Pretty Girls, Bronx, 2018
Photograph © Paul Kessel

Co-curated by John A. Bennette with Orestes Gonzalez
Juried by Alexa Dilworth, Aline Smithson, Jonathan Blaustein
 
 Gallery Hours: Saturday and Sunday 2:00-5:0pm
Thursdays 6:00-10:00pm
Now through July 21, 2019

Click image below to view all the Artists

6.12.2019

ARNOLD NEWMAN PRIZE for New Directions in Photographic Portraiture

Photograph by Viktoria Sorochinski, series “Daddy“
2018 Arnold Newman PrizeWinner

Prepare your Entry for the "Arnold Newman Prize for New Directions in Photographic Portraiture," a $20,000 prize awarded to a photographer whose work demonstrates a compelling new vision in photographic portraiture. In addition to the winner, the jury selects three finalists each year who are invited to participate in an exhibit at the Griffin Museum of Photography.

The Jurors are: Paula Tognarelli, Director of the Griffin Museum of Photography • Elizabeth Avedon, Independent Curator, PhotoBook + Exhibition Designer • Jessica Dimson, Deputy Photo Editor, The New York Times

The Prize is funded by the Arnold and Augusta Newman Foundation and administered by Maine Media Workshops + College.
  

PHOTOLUCIDA: Critical Mass 2019

Photograph: Chloe Aftel @chloeaftel

Get your best work ready because Photolucida's Critical Mass 2019 is now open for submissions!

Entering it’s 16th year, Critical Mass was created as a way to facilitate connections between emerging photographers and industry professionals with an aim at creating career-changing opportunities! With 200 museum curators, gallerists, publishers and more on the jury there is no better way to get your work seen in this digital day and age.

This year Photolucida is offering some amazing awards: A solo show at Blue Sky Gallery during Portland Photo Month, the Rauschenberg Residency Award, a Top 50 Exhibition at the Center for Photographic Art in Carmel, CA curated by Elizabeth Avedon, and publication in issue #63 of GUP Magazine for a selection of finalists. All finalists will also receive this special issue of GUP after it is published!
https://www.photolucida.org/critical-mass/entry-details

P.S. I'm thrilled to be curating the Critical Mass 2019 Top 50 exhibition at the Center for Photographic Art in Carmel, CA! EA

5.29.2019

GREG KAHN : Havana Youth

 Havana Youth by Greg Kahn (Yoffy Press)

Smoke Machine at Fiesta Unica
Photograph © Greg Kahn

Miramar, Havana
Photograph © Greg Kahn
Havana Youth by Greg Kahn (Yoffy Press)

"In Havana Youth, Greg Kahn explores Cubans born after 1989, who have only known a time after the USSR dissolved and left the Caribbean nation with few resources and a growth-crippling, US-led economic embargo. Those kids, born during what is called “The Special Period”, are now in their twenties and developing a sense of individuality in a society that was historically focused on collectivism. This is their cultural counter-revolution, and they are redefining what it means to be Cuban." –Yoffy Press

Photographs by Greg Kahn
Introduction by Ariana Hernandez-Reguant
Yoffy Press 2019

Hardcover, 11.25 x 8.5 inches
144 pages + additional softcover zine
Edition of 500

ISBN: 978-1-943948-12-3
Trade Edition (unsigned):  $50.00
Signed by artist: $60.00

Greg Kahn is a Washington, DC - based American documentary fine art photographer. In August of 2012, Kahn co-founded GRAIN Images with his wife Lexey, and colleague Tristan Spinski. His work concentrates on issues that shape personal and cultural identity. His Pulitzer Prize nominated project, “It’s Not a House, It’s a Home,” explores how the foreclosure crisis in Florida defined a new class of homelessness. His recent project in Cuba considers how governance molds individuality.