9.28.2019

MESMERIC : SVA Master of Professional Studies in Digital Photography 2019 Class Exhibition

 The Dragon Dream / Film by Sophie Cheung
Showing a pivotal moment from her 10-minute narrative film, The Dragon Dream, and a series of monologues, Sophie Cheung explores the mental-health consequences of the great academic pressure placed on young people in Asian societies.

Inventing the Dog / Photographs by Stephanie Zimmer 
A celebration and typological study of the wide variety of purebred dogs. Bio-engineered over hundreds or even thousands of years to serve a specific purpose for humans, dogs come in a remarkable range of sizes, shapes and personalities. The project’s photographs examine both this variety and the specific physical issues associated with selective breeding.

 Bathhouse / Photographs by Jaichang Sim
A documentary study of the Korean bathhouse and its societal importance, featuring intimate portraits of customers and self-portraits of the photographer, Jaichang Sim, at a bathhouse owned by his father.

Mutations / Image by Huai Yi Tsai
Huai Yi Tsai’s images, prints and handmade book from his series “Mutations” are based on sculptures he has created from found garbage to critique people’s lack of awareness of the pollution caused by their disposal of consumable items.

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The School of Visual Arts presents “Mesmeric” an exhibition of thesis work by the Master of Professional Studies in Digital Photography The Class of 2019 / Curated by NYC gallerist and SVA faculty member Debra Klomp Ching.

Mesmeric” 
Curated by Debra Klomp Ching
Oct 12 – Nov 2, 2019
SVA Gramercy Gallery
209 E. 23rd Street, NYC

Reception
Wed, Oct 23, 2019
6:00 – 8:00pm

"Mesmeric is, fittingly, an exhibition with work by 11 talented photographers and artists who maintained an intense focus on their thesis projects and their ideas, often blocking out other voices and distractions around them. They were in it! The exhibition showcases the class of 2019’s commitment to the continuous improvement, imagination and experimentation needed to produce transfixing bodies of photographic work.” – MPS Digital Photography Chair Tom P. Ashe

Also exhibiting: Yangzi Huang’s photographs in “Indirect Object” transform and elevate common objects using perspective and lighting to create visuals that are reminiscent of 1920s avant-garde still-life photography.

In “Contour,” Luiza Ladeira Lavorato celebrates the female form by bringing new photographic strategies to the classical black-and-white nude. The project is in part a reaction to the debasing of the female figure and the way this has desensitized our culture to the nude’s natural beauty.

Overloaded” is a series of abstract images that capture Qikun Li’s emotional struggles. His goal in this project is to capture these feelings in what are, essentially, psychological landscapes.

The Five Elements” by Kam Lin is a group of fashion photographs inspired by the “Five Elements” of metal, wood, water, fire and earth in traditional Chinese culture. The Five Elements theory explains the interaction and relationship between all things.

Xuanang Tian’s project “[me, you]” is a series of still-lifes containing fragments of mirrors and Mylar that incorporate viewers’ reflection into the image, symbolizing the many personal and social boundaries that restrict us.

The images in Ruojia Wo’s “Color After a Fashion” take the aesthetic of fashion photography into a different realm using a muted palette and a style derived from architectural and landscape photography.

The Chinese Zodiac” by Zhou Zhou explores this important cultural concept by depicting its twelve animal signs through photographic collages that combine styled models with traditional Chinese objects and symbols.

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I'm fortunate to teach a summer course, Book and Brand, in this department! The students concentrate on creating their printed book or portfolio, and design and produce terrific branding and marketing materials. It's exciting to see their completed photographic series in this upcoming exhibition. – EA

The Master of Professional Studies in Digital Photography, chaired by Tom P. Ashe, is an intensive one-year graduate degree program that addresses the digital-image capture, workflow, exhibition printing, sound, video and visual storytelling skills required of professional photographers and photo educators in the vanguard of commercial, fine art, portrait and fashion photography practices. Within the year, students are prepared to excel at producing conceptually compelling and technically outstanding images, and are ideally positioned to pursue gallery representation, editorial or commercial work, as well as high-end digital retouching and consulting careers. 

The SVA Gramercy Gallery, located at 209 East 23rd Street, New York City, is open Monday through Friday, 9:00am to 7:00pm, and Saturday, 10:00am to 6:00pm. The gallery is accessible by wheelchair.

9.03.2019

ARNOLD NEWMAN PRIZE WINNER: Louie Palu FINALISTS: Jess T. Dugan, Cheryle St. Onge, and Bryan Thomas

 Arctic Passage
 Photograph © Louie Palu, 2019 Winner

 Arctic Passage
 Photograph © Louie Palu, 2019 Winner

 Arctic Passage
 Photograph © Louie Palu, 2019 Winner

 Arctic Passage
 Photograph © Louie Palu, 2019 Winner

This year's winner of the 2019 Arnold Newman Prize for New Directions in Photographic Portraiture is Louie Palu for work that demonstrates a compelling new vision in photographic portraiture. His project, Arctic Passage, is a series of photographs from the Arctic and an installation composed of large format portraits frozen in ice blocks. Since 2015 Palu has been working on a long-term photography project related to climate change, which documents the changing lives around Inuit communities in the high Arctic. The project also explores the evolving situation related to the geopolitics of the Polar region and the growing militarization of the Arctic as countries look to capitalize on the melting ice revealing natural resources.

"Two years ago I began experimenting with freezing these photographs in ice blocks, then putting them outdoors to melt. The concept came out of a book on the Franklin voyage, which was a British Naval expedition in the 1800’s. Franklin’s two Arctic exploration ships were crushed by the ice and the crews perished succumbing to the Arctic’s severe weather. Their camera was never found and I imagined the photographs frozen and lost somewhere in the ice."

"The Arctic is about imagination, because most of us can’t go there we can only imagine it. In some ways we must use imagination combined with science to understand how climate change will affect us. The Arctic is the region in the world where the planet is warming the most rapidly. I felt the need to push the boundaries of traditional portraiture to not only looking and at encountering another person through photography, but experiencing what they are seeing, which is ice disappearing as a part of their identity. I wanted to take the work beyond the image, pixels and paper prints."

"In 2019, I submitted a proposal to the SXSW Festival’s Art Installation Program with this concept and it was selected. I installed the work outside in front of the Harry Ransom Center at the University of Texas in Austin and made several discoveries. First, the ice block portraits took several unique forms and changed while they melted including forming frost, spider web cracks and water running down (from melting) the faces of some of the portraits. They all eventually fell over due to melting, and the only way I can put this in words is destroyed themselves by shattering on the ground. Attendance to the installation was high and what I found interesting was everyone took photos of the slowly transforming, what some called “ice portraits” and shared it on their social media tagging it related to climate change. The result was viewers documented the changing portraits as the ice melted which made their photographs inclusive to the installation and conversation around people affected by climate change."

"Ice defines the Arctic and is as much a part of the identity of the people from there as it is a part of the environment they live in. Fusing ice and images of the people there and how their very identity is slowly vanishing is what I want people to experience. The portfolio submitted is a combination of my photographs and examples of some frozen in ice. Work in this project has been supported by the Harry Ransom Center, Joan Morgenstern, John Simon Guggenheim Memorial Foundation, National Geographic & Pulitzer Center." – Louie Palu

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Three Finalist's were also selected: Jess T. Dugan, "Every Breath We Drew"; Cheryle St. Onge, “Calling the Birds Home"; and Bryan Thomas, “Sunrise/Sunset".

The 2019 Jurors were: 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 $20,000. award was funded by the Arnold and Augusta Newman Foundation and administered by Maine Media Workshops + College. Thank you to all who submitted their incredible work!

 2019 Arnold Newman Prize for New Directions
  in Photographic Portraiture
Winner and Finalists Exhibition
October 1-20, 2019
Reception: October 10, 2019

Calling The Birds Home
  Photograph © Cheryle St. Onge 

Sunrise/Sunset
Photograph ©  Bryan Thomas

Every Breath We Drew 
 Photograph © Jess T. Dugan 
Courtesy of Catherine Edelman Gallery, Chicago

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.



6.22.2019

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