INTERNATIONAL PHOTOGRAPHY AWARDS: IPA 2013 Call For Entries • Deadline July 15th

(You have to Enter to Win!)

$10,000 cash prize (Sponsored by AtEdge)

$5,000 cash prize 

$5,000 cash prize (Sponsored by ASMP)

$2,500 cash prize


IMOGEN CUNNINGHAM: A Handmade Book from 21st Editions

 Imogen Cunningham - Veiled Woman, 1910

Imogen Cunningham -  
The Wood Beyond the World, 1910

Imogen Cunningham - The Dream, 1910

In 2012, 21st Editions and the Imogen Cunningham Trust announced, Imogen Cunningham: Platinum / Palladium, the first in a trilogy of books on the work of Imogen Cunningham, one of the most important women in the history of photography.   

And now in 2013, Imogen Cunningham: Symbolist with Poetry and Prose by William Morris, is the second book in this trilogy. The components of this completely handmade book will include:

* 3 loose Imogen Cunningham Estate prints (shown above): Veiled Woman, 1910; The Dream, 1910;  and The Wood Beyond the World, 1910 each printed at approximately 9 1/2 x 12 inches with the Imogen Cunningham chop and Estate stamp.

* 10 bound Imogen Cunningham Estate Prints printed in gum arabic and platinum of Cunningham's early Symbolist work (1905-1915), as shown below. These prints will also include the chop and Estate stamp.

* 1 frontispiece nude self-portrait of Imogen Cunningham.

* Poetry and Prose by William Morris, with an introductory note by John Wood, printed letterpress on handmade Twinrocker paper.

* Hand-bound by master binder Sarah Creighton

Should you want a copy of this title for your collection, the price is $8500. A deposit is required: contact Pam or Steve  #508-398-3000

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May 24 - September 8

A retrospective of Imogen Cunningham's work will open on May 24th in Stockholm at Kulturhuset. This exhibition, in collaboration with the Fundación Mapfre and La Fábrica, brings together approximately two hundred photographs, some unpublished and rarely seen, from the Imogen Cunningham Trust as well as several museums. Works from Imogen Cunningham: Symbolist are part of this exhibition including The Wood Beyond the World, 1910; Self Portrait, 1906; and Marsh at Dawn, 1905-1906.  


ANDERSON + LOW: An Intimate Journey with Chinese Gymnasts at Fahey/Klein

 Anderson + Low
Dong Zhengdong from the Project Endure, 2009/2010

 Anderson + Low
Gymnasium from the Project Endure, 2009/2010

 Anderson + Low
 Beam Training from the Project Endure, 2009/2010

 Anderson + Low
Huang Huidan from the Project Endure, 2009/2010

Anderson + Low
 Warming Up from the Project Endure, 2009/2010

May 23 - July 6, 2013
Artist Reception: May 23, 7 – 9 PM

Fahey/Klein Gallery presents "ENDURE: An Intimate Journey with the Chinese Gymnasts", the first exhibition in the western world of this project from contemporary photographers, Jonathan Anderson and Edwin Low. The exhibition is comprised of large-scale color photographs taken over a two-year period documenting the elite Chinese gymnasts, their challenging and dedicated training program, their character, and the team's training facilities in Beijing.

Athletics, endurance, and the process of training have inspired Anderson + Low for over twenty years, but it wasn't until 2009 that the duo was granted exclusive and completely unique access to photograph the Chinese gymnasts.   Nobody has been given this access, and the results are as unprecedented as they are extraordinary. Over the following two years, Anderson & Low would work to create a documentary series that reinvents traditional sport imagery. Whereas conventional sport photography primarily focuses on the winning moment, or an instance of heartbreaking defeat-Anderson & Low's images explore the mental and physical process of training itself, and the structure and discipline the young gymnasts endure. The images capture powerful moments of stillness and transcend into a study of the human condition in microcosm, an examination of the purest human emotions under intense pressure. Although the images have a distinctly contemporary feel, athletics, training, and competition are among the most ancient and earliest depicted themes. Anderson & Low's images reference classic Greek and Roman forms, and the ancient ideal of the trained athlete. Their photographs examine the tension between the athlete's ideal and the very real limitations of the human body.

Anderson + Low state that the goal of the project is to celebrate the extraordinary athletes they have spent years photographing alongside, and of whom they remain in awe. They use the word "Endure" in a triumphal sense, celebrating these gymnasts' stamina, endurance, dedication, character and through this they celebrate the human spirit as a whole. Their images avoid judgment; instead, the detailed scrutiny in these images conveys the physical and mental experiences of the athletes, and the photographers' feeling of respect and admiration towards the athletes' strength, grace, power and determination. This became evident to the photographers when they first witnessed the athletes training in their massive gymnasium in early 2009, "We experienced profound emotion, intimate and powerful, made all the more intense by this primal response being so unexpected. It was, and still is, unforgettable; until that moment, we had not known that sport could still make us feel something so simple, as though it was the first time we have ever seen people train." (ENDURE, Serindia Contemporary Publications, 2012)

Since 1990, Jonathan Anderson and Edwin Low have been collaborating creatively as Anderson + Low. Their work has been exhibited internationally, and belongs to many public and private collections including: The Metropolitan Museum of Art, New York; Victoria + Albert Museum, London; National Portrait Galleries (United Kingdom and Australia); National Gallery of Australia; Museum of Fine Art, Houston; High Museum of Art, Atlanta, and La Maison Européenne de la Photographie, Paris among many others. A limited edition book of "Endure" was recently released by Serindia Publications (2012). Jonathan Anderson and Edwin Low live and work in London, United Kingdom. (Courtesy Fahey/Klein)

Untitled (Kit The Swordsman), The Metropolitan Museum of Art
Photo © Elizabeth Paul Avedon / All rights reserved

EA: Where did you two meet?
Jonathan Anderson: We met in a photographic facility in London 25 years ago October the 12th this year. We’ve been working as the team 'Anderson + Low' for over twenty years.   Edwin Low: We submitted some work for the Royal Academy Summer Exhibition. It was quite unique because it was the first time they accepted Photography as an art form in the Royal Academy. The rest is history.  Jonathan Anderson: We thought we’d better take ourselves seriously and carry on, so that's where it all started.


THE FENCE: Boston Photo Exhibition along the Rose Fitzgerald Kennedy Greenway

The Fence 2013, Boston

John Delaney's series,  Hoboken Passing, The Fence 2013, Boston

The Fence, 2012 exceeded all expectations
 photo by Stefan Falke

The Fence 2013, Boston
A Summer Long Special Boston Outdoor Exhibition
Rose Fitzgerald Kennedy Greenway
now to Sept 1, 2013

United Photo Industries, Photo District News (PDN), Brooklyn Bridge Park & Flash Forward Festival have joined forces to curate and produce THE FENCE - the annual summer-long outdoor photo exhibition that in its first year, drew more than 1 million visitors during its 10 week run at Brooklyn Bridge Park in 2012.

The work featured on THE FENCE in 2012 exceeded every expectation, captivating audiences of all ages, and this year THE FENCE has expanded! In addition to our 1000ft long photographic installation on display in Brooklyn Bridge Park, we partnered with Boston's Flash Forward Festival, in producing a special curated version of THE FENCE, now displayed along the Rose Kennedy Greenway in Boston. Photographers of all levels were invited to submit their best image series that capture the essence of "community" and fit into one more of the competition categories: Home, Streets, People, Creatures, Play. (Courtesy of United Photo Industries)


JOHN DELANEY: Kazakh Golden Eagle Nomads at Photo-Eye Gallery, Santa Fe

Eagle Hunter #9, 2008 
Gelatin-Silver print. Photograph © John Delaney

Silent Watcher, 1998
 Gelatin-Silver print. Photograph © John Delaney

 The Three Horsemen, 1998
Gelatin-Silver print. Photograph © John Delaney

 John Delaney in his traveling Studio

The method and style of my photography is very traditional. I travel with a large format wood view camera and a portable studio tent. My traveling studio not only controls the light but also serves as a common meeting ground in which my subjects present themselves. The goal is to create a portrait that reveals something beneath the obvious: a sense of grace, nobility, or humanity. – John Delaney

Nomad Girl w/ Falcon, 2008   
Gelatin-Silver print. Photograph © John Delaney

"Every year soon after the first snowfall these majestic men will mount their horses and head up into the mountains in search of prey. They will lose their eagles on any unsuspecting fox, rabbit, and even wolf. The Kazakhs capture their eagles while young, often directly from their  cliff side nests. They take only the female, which are larger and more aggressive than the male. The eagles stay with the hunter for about seven years, during which time man and bird live in symbiosis, bound in survival. With a wingspan of over 7 feet and talons that can easily crush bone, these majestic predators make formidable allies. In the more isolated valleys of the Altai Mountains this hunt still provides needed food and furs for harsh winters. And it has become a treasured tradition and right of passage for the Kazakh men."– John Delaney

Shot in Mongolia in 2008, John Delaney's Golden Eagle Nomads centers on the relationships between the nomadic Kazakh people and their golden eagle hunting companions. Though their nomadic lifestyle and hunting traditions date back to the 5th Century (and possibly earlier), the Kazakh's way of life is now threatened by an encroaching Western influence and globalization. Delaney's photographs capture the unique and complex symbiotic relationship between the Kazakh people and these powerful birds. Delaney was honored with the 2008 Lucie/International Photography Awards 'Discovery of the Year' for this series and was Master Printer for Richard Avedon, Irving Penn, Bruce Davidson, Patrick Demarchelier, Steven Klein, among others. His work has been exhibited both nationally and internationally.

Exhibition: May 17 – July 12
Artist Reception: June 5,  5‐7 pm 
Artist Talk: June 5, 6 pm 

376 Garcia Street Santa Fe, NM


SCENES FROM THE SOUTH, 1936-2012: An Exhibition at Howard Greenberg Gallery

Bill Burke, Lewis, Vote, Kool, Valley View, Kentucky, 1976
Courtesy Howard Greenberg Gallery, New York 

William Gedney, Kentucky, 1972
Courtesy Howard Greenberg Gallery, New York

 Peter Sekaer, Billboard, Amarillo, Texas, 1939
Courtesy Howard Greenberg Gallery, New York
Walker Evans, Houses and Billboards in Atlanta, Georgia, 1936
Courtesy Howard Greenberg Gallery, New York

Joel Meyerowitz, The South, date unknown 
Courtesy Howard Greenberg Gallery, New York

May 9-June 1, 2013

Work by Berenice Abbott, Bill Burke, Edward Burtynsky, William Christenberry, Bruce Davidson, William Eggleston, Walker Evans, Robert Frank, William Gedney, Dorothea Lange, Ralph Eugene Meatyard, Peter Sekaer, and emerging artists Caroline Allison, Mikael Kennedy, Joshua Black Wilkins, and J.R. Doty. The exhibition is curated by Susan Sherrick, an independent curator based in Nashville.


JEFF JACOBSON: The Last Roll [Of Kodachrome]

 Diner, Lone Pine, California, 2009
Photograph © Jeff Jacobson

 Mt. St. Helens, Washington, 2008
 Photograph © Jeff Jacobson

 Motel 6, Kansas City, Kansas 2009
 Photograph © Jeff Jacobson

"For 35 years, photographer Jeff Jacobson has worked exclusively with Kodachrome film to create images of people and landscapes, mostly made in America, that push the boundaries of photojournalism to present a more poetic and subjective view of the world. Jacobson has described his approach to his photography as rooted in the world but having "one foot in the real world, and one foot somewhere else." His photographs, which are sometimes difficult to decipher, can be beautiful, dreamlike, theatrical, artful, meditative, or quirky, reflecting the artist's personal approach to his work."

"The work in The Last Roll was not a pre-planned concept, but rather evolved out of the blue as a result of timing. In December of 2004, Jacobson was diagnosed with cancer. He underwent chemotherapy treatment, and his life temporarily stopped. While recovering at his home in the Catskills, he was at first too weak to leave the house so he started shooting inside (something he would never have imagined doing previously), out the window, and as he regained his strength outside the house in his backyard, on the street, and by the river. After six months he took his first trip on a plane to resume photographing the rest of America."
"In 2009, while still working on the The Last Roll, Kodak announced that it was discontinuing the production of Kodachrome film. The last roll of the film that Jacobson had used throughout his career was processed in 2010. While grappling with his own mortality, Jacobson was working in a medium that had already ended."

"In his personal statement Jacobson writes: "A few days before Christmas, 2004, I was diagnosed with lymphoma. Some present. After each chemotherapy session I retreated to our home in the Catskills to recuperate. I began photographing around the house, as I was too sick to go anywhere else. As my strength returned, my photographic universe slowly expanded. Shortly thereafter, Kodak discontinued production of Kodachrome. I loved Kodachrome. It helped shape my photographic vision. I filled my refrigerator and wine cooler with the stuff and kept shooting. I have outlived my film. A few days before Christmas, 2010, I exposed my last roll."

"The Last Roll is Jacobson's attempt to answer his question "what do you do when you are presented with your own physical and creative mortality?" This beautiful and compelling body of photographs provides a nuanced, first person depiction of a cancer patient's changing perspectives on life, death, art and the world at-large. The colors in Jacobson's photographs of deer basked in car headlights, a lake at dusk, cranes in flight, a tree splattered with blue paint, Mt. St. Helen's, his wife looking out the window, a self portrait, are more muted than in his previous work as he moves into a deeper place of self reflection. Jacobson refers to photography as the fulcrum of his life, no matter what else is going on, and this feeling is celebrated in The Last Roll. The photographs are accompanied by a poem written by Jacobson's wife Marnie Andrews." (Courtesy of Daylight Books)


Exhibition through June 16, 2013 

Daylight Books, 2013. Printed in Iceland by Oddi Press 

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is located in upstate New York in the heart of the Catskill Mountains