ASHLY STOHL : DAYS + YEARS

Days + Years  Photograph © Ashly Stohl

 Days + Years  Photograph © Ashly Stohl

Days + Years  Photograph © Ashly Stohl

“Parenting, like childhood, is a wild trip: some days are boring, moments are ridiculous or moments are hard, love abounds. Ashly captures all of this with an unflinching—and unjaded—eye. This book is a monument to her children, but it’s also a testament to the person she herself is and to the multiplicity of work she does twenty-four hours a day.”– Lynn Melnick, Days + Years

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Days + Years, an exhibition of photographs by Los Angeles artist Ashly Stohl at the Leica Store Soho, New York launches in conjunction with the release of Stohl’s second book, Days + Years, which takes from the common bit of parenting wisdom, “The days are long but the years are short.”

From after-school snacks to sibling squabbles to family vacations, here is the messy and bustling day-to-day, as seen through Stohl’s celebrated eye. Now, and with her usual fearlessness, warmth, and darkly wry humor, Stohl’s Days + Years broadens the focus to her entire family.

Ashly Stohl : Days + Years

May 2, 2019 - June 30, 2019
Leica Store Soho Gallery
460 W. B'way, NYC

www.leicastoresoho.com

Artist reception May 2, 2019, 6pm – 8pm

The book Days + Years will be released in June 2019

Pre-order on Peanut Press

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Ashly Stohl’s first book, Charth Vader, folloewed the journey of the the photographer's visually impaired son, Charth Vader, as he battled his way through childhood. Profits from the book benefit the Vision Center at Childrens Hospital Los Angeles. Charth Vader met with great recognition: featured on ABC News, Huffington Post, and news outlets worldwide. View on Peanut Press

Charth Vader  Photograph © Ashly Stohl

Charth Vader  Photograph © Ashly Stohl

SANDRA CHEN WEINSTEIN: TRANSCEND at Mirage Gallery, Kobe, Japan

"Leo" from "Transcend" project

​Photograph © Sandra Chen Weinstein

"Asher and Hart" from "Transcend" project

 ​Photograph © Sandra Chen Weinstein

 "Lee" from "Transcend" project

 ​Photograph © Sandra Chen Weinstein

 "Sandra and Lee" from "Transcend" project

 ​Photograph © Sandra Chen Weinstein

 “Untitled” from "SHE/They" project

 ​Photograph © Sandra Chen Weinstein

 ​ "Dignity for Palestine”

Photograph © Sandra Chen Weinstein

My adult child came out recently as queer, transgender, non-binary at age 28. I was surprised, but it took me no time to embrace my child as who they are. I am there for my child in the delicate transition of identity, psychological complexity, depression, challenge and discrimination.  My love for my child is infinite and unconditional; I support them and hope our example will help others.” 

– Sandra Chen Weinstein

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I first became aware of Sandra Chen Weinstein's exceptional work several years ago at a private Portfolio Review at The Griffin Museum of Photography. Since then, her series "SHE/They" made a great impression in many of the exhibitions I've worked on. As she describes it's importance within the context of our time, "This series of candid, yet intimate, women portraits illuminates the dynamic and complex feminine psychology, the perception of tradition, love, identity and ideals in life. As a whole the work seeks to demonstrate how women inhabit diverse bodies and express complex forms of self-determination."

Sandra Chen Weinstein is a self-taught photographer whose work focuses on documentary photography, emphasizing social identity, culture, and minorities. She has dedicated long-term projects on women, minorities, and American pop culture, receiving numerous distinguished awards including 1st Prize in 2017 Kuala Lumpur' International Photo Awards, winner of Robert Cornelius Portrait Award and two-time winner of the Julia Margaret Cameron Award, among others. 

Curator Carol McCusker wrote about Chen Weinstein's exhibition "Dignity for Palestine” shown at the 2018 Auckland Festival of Photography, "Sandra’s images—often artfully framed, with a disarming intimacy—reveal a vibrant, complicated community, one we rarely see in the American press. Chen Weinstein walked the streets of the Arab West Bank, from Jerusalem, Jenin to Hebron, and took photographs. For many Palestinians, Chen Weinstein was the first Taiwanese/Chinese woman they had encountered; there is an openness toward her because of this. "Dignity for Palestine," a piece of instructional history comes quietly but indelibly across—the Palestinians are survivors"

And more recently I've had the honor of working privately with Ms. Chen Weinstein on her most personal project to date, "TRANSEND". I've been very moved by her early struggle whether to reveal her own private history within this series, ultimately spotlighting her story to bring awareness to other families.  I interviewed her between her travels about this new series so close to her heart.

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Elizabeth Avedon: An exhibition of 24 portraits from your latest series “TRANSCEND” was showing at the Rokko Photography Festival in Kobe, Japan and opening as a solo exhibition at the Mirage Gallery in Kobe June 15 to July 31. Tell me about the portraits that make up TRANSCEND.

Sandra Chen Weinstein: Like me, parents and fa­milies have gone through a lengthy and sometimes difficult time with their loved ones through some struggles during the transition of their child feeling “lost and found”. Sadly, however, a number of families have left their children to struggle on their own because they cannot accept such changes.  Parents who support their child are constantly in living fear for their child because the discrimination and retribution.  

These intimate portraits are of the LGBTQ community, their families and their loved ones. The subjects are photographed in their own environment to allow a more engaging view from their perspective and their families. They are displayed with their own quotes and audio recording of their voices about themselves and their loved ones. 

My goal is to unveil and celebrate the identity for people who are lesbian, gay, bisexual, transgender, and queer with families, friends, and allies showing unconditional love and equality.  The work seeks to aid social justice against stereotype and stigma long existed.  

EA: How did this series begin? Was it personal in any way?

SCW: I started this project during 2016 while I was working on another series "SHE/ They."  It was mirroring the emotional journey I was on myself, as well as being inspired by my child on both projects.  It is very personal since my child came out as transgender non-binary at age 28, preferring the pronoun “THEY” in the beginning of 2016.   

EA: There are some very moving portraits in this series. How did you find the subjects in your photographs?

SCW: After my child came out to me, I sought support during the process of transition with my child.  I met some parents and family members of various groups that support the LGBTQ community.  I was fortunate to also learn of other subjects to photograph from friends and by word of mouth. 

EA: Is this series an evolution from your past work or how do you view it in the context of your overall career?

SCW: My portfolios, “Transcend” and "SHE/They," are both more intimate subjects to me perhaps than prior work. These capture the subject in portraits that are in a more personal space for them and for me. I was looking for inner emotion and dynamic range when the moments arose.

My photography is focused on the human condition and the complexity of both the physical and the psychological.  My sincerest hope is to use photography as a tool for social change in the humanity of the world. My work is greatly inspired and influenced by Henri Cartier-Bresson, Sebastiгo Salgado, Susan Meisela, Eli Reed when I started my photographic art.

EA: You have an eclectic array of subjects in your past work, all exceptional images, but all basically people. I’m thinking of your cowgirl at the rodeo in the Texas Photographic Society exhibition, your 17 images from your series “Facets of India” in La Revue de France Culture (N. 23), and your portraits and street photos in Palestine showing at the Auckland Festival of Photography.

SCW: I am interested in challenging subjects in photography and photographing people are the most challenging I’ve found.  I have been working on exploring identity in the complexity and diversity of social and cultural backgrounds.  I feel people are the key element to make any possible changes for a better world. People are continuing to evolve through differences and celebrating both their common and unique heritages.          

EA: How does your series “TRANSCEND” differ from the images you’ve shown at the Auckland Festival of Photography?

SCW: “Dignity of Palestine” is about the Palestinians’ struggles and surviving  in oppression, occupation, and life in an apartheid state and how that impacts lives, environment, their land, and country.  “Seoul Searching” is showing the extreme contrast from the North and South Korea across the DMZ contrasted with the pop culture life style for the South Korean. “Transcend” is about love and relationship in LGBTQ and their family portrayed in their homes or in a familiar environment. To me, they are all connected to who we are and our lives in both social and political subjects.            

 Sandra Chen Weinstein

TRANSCEND

June 15 to July 31, 2018

Mirage Gallery
Kobe-shi, Hyogo,
Japan  650-0012

Artist Gallery Talk, July 7, 2018

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Dignity for Palestine 
Seoul Searching
Auckland Festival of Photography2018

ALINE SMITHSON: And the Magenta Foundation Kickstarter Campaign!

Award winning photographer Aline Smithson generously promotes and supports the work of other photographers and photo professionals daily on her award winning journal, LENSCRATCH; as well as giving workshops at the Los Angeles Center of Photography and jurying exhibitions and portfolio reviews around the country. Now Smithson's first monograph, a twenty-year retrospective of her portrait work, Self and Others: Portrait as Autobiography, will be published by The Magenta Foundation this Fall.

"I have always felt that the act of creating a portrait is equally a reflection of the artist and the sitter. I tend to work with people I know--family, friends, and neighbors, so that the process is in fact, autobiographical.  I am not only telling their story, but also telling my own. I still shoot film and work for the most part, with a mid century Rolleiflex. I like the slowed down nature of shooting film and the sense of history and methodology it brings to my art making." – Aline Smithson

I am thrilled to announce the Kickstarter campaign created to raise funds for the publication of award-winning photographer Aline Smithson's first monograph, Self and Others: Portrait as Autobiography, by the Magenta Foundation in the Fall of 2015.

"This will be the first published monograph of Aline Smithson's portrait photographs spanning over twenty years. Self and Others: Portrait as Autobiography is an almost 20 year culmination of portrait photographs captured by award-winning photographer Aline Smithson. Beginning with her early forays into black and white work, produced as darkroom silver gelatin prints, she photographed the world around her considering the poignancy of childhood and the pathos of aging and relationships. The book continues with her hand painted photographs featuring her defining series, Arrangement in Green and Black: Portrait of the Photographer's Mother, where she combines humor and family to create a universal expression of motherhood. The book is completed by her color projects that revisit beauty, the essence of childhood, and an examination of created realities. Aline brings a background in painting and fashion to her images, but at the heart of her work is her ability to recognize the inner self of her subjects. The photographer considers all her portraits a reflection of herself and the stories she wants to tell, and in that way, she has created a visual language that is her own unique autobiography." –The Magenta Foundation

PLAY THE VIDEO

"Hello friends! I am so excited to announce my first monograph, Self and Others: Portrait as Autobiography, and share my Kickstarter campaign created to raise funds for publication. The book will be published by the Magenta Foundation in Fall of 2015. I could really use your support to make this book a reality." Watch the Kickstarter video here

ALINE SMITHSON

KICKSTARTER CAMPAIGN!

Read about Aline Smithson's series, Arrangement in Green and Black: Portrait of the Photographer's Mother, here on L'Oeil de la Photography.

LESLY DESCHLER CANOSSI: Ongoing Domestic Negotiations in Brooklyn

Noa’s Shadow, Hands on Paper, Brooklyn, 2012

Photograph (c) Lesly Deschler Canossi

Mateo's Bath at Two Months in Kitchen Sink, Brooklyn, 2012

Photograph (c) Lesly Deschler Canossi 

Olive and Noa Touching, Brooklyn, 2012

Photograph (c) Lesly Deschler Canossi

"Domestic Negotiations is an ongoing project and the result of a personal desire to make work while navigating the demands of a new marriage, motherhood, creative and professional work. In creating the irreversible bonds of family, I understand a life of domesticity to be a negotiation. Now that my hands are deeply plunged into this experience, I live in a constant flow of needs met or missed, a conversation on practical demands, expectations, and fleeting moments that must not go unnoticed. At this stage, feelings are more intensified and there is no rest. It is my hope that this work conveys the emotional and physical tenderness of a family while revealing the raw and delicate nature of the relationships we try so desperately to preserve." – Lesly Deschler Canossi

I first met and was enchanted by Lesly Deschler Canossi's work at Ruben Natal-San Miguel and Rafael Fuchs first annual "15 Minutes of Fame" Portfolio Review in Bushwick last month. With an MFA in Photography and Digital Imaging from Maryland Institute College of Art, Lesly works in New York City as an artist, as well as an instructor at the International Center of Photography (ICP) and owner of Fiber Ink Studio, a printing and drum scanning studio producing museum quality pigment prints. View more of her on-going project here

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SUSAN KEISER: In Memory's Dream

from the series "In Memory's Dream"

 Photograph © Susan Keiser

from the series "In Memory's Dream"

 Photograph © Susan Keiser

from the series "In Memory's Dream"

 Photograph © Susan Keiser

"My parents weren’t much for taking pictures. The entire family archive fit into a small cardboard box—two barely started albums and a pile of photo envelopes from various drugstores. Growing up I’d spent hours studying and restudying those snapshots, looking for insights even in the badly blurred ones, hoping they could tell me what really happened. Part memory, mostly invention, the stories I wove became my history."
 

"The box sat unopened for years until a frozen pipe burst, flooding the basement of my mother’s empty house. While the ruined photos were irreplaceable, the history was my own, and the loss freed me to reimag(in)e my story on a larger scale, from a more universal point of view. The result is A River Made of Time and Memory, photographs that are not the record of actual events, but of emotional truths, shaped and colored by years of reflection. Fresh visions appear, images aggregate into chapters, and the river flows on. " – Susan Keiser (read more here)

SUSAN KEISER PHOTOGRAPHY

STUDENT SHOWCASE: Roman Anaya

 My 85 year old Grandfather came here from Mexico as a migrant worker.
Photograph © Roman Anaya

My Grandfather captures the essence of a hard working man.
Photograph © Roman Anaya

"My family came here from Mexico as migrant workers. These images represent the hard work and obstacles my family has had to overcome to get to where we are today."–Roman Anaya

Roman Anaya is this month's Student Showcase choice. He is currently a student in the School of Visual Arts BFA Photography program.

JULIE BLACKMON: New Work at Fahey/Klein

Queen, 2010
Photograph © Julie Blackmon

Night Movie, 2011
Photograph © Julie Blackmon

New work from photographer Julie Blackmon’s ongoing series “Domestic Vacations” depicts imagined, as well as autobiographical, narratives inspired by the hectic and multifaceted domestic life of her own family. “As an artist and as a mother,” Blackmon states “I believe life’s most poignant moments come from the ability to fuse fantasy and reality: to see the mythic amidst the chaos.”

"The painterly influences of Julie Blackmon’s work are further emphasized by the large scale of the works being exhibited including four Archival Pigment Print photographs each measuring over 4 ½ feet tall and six feet wide. Blackmon states, "The paintings of Steen, along with those of other Dutch and Flemish genre painters, helped inspire this body of work. As Steen’s personal narratives of family life depicted nearly 400 years ago, the conflation of art and life is an area I have explored in photographing the everyday life of my family and the lives of my sisters and their families at home. These images are both fictional and auto-biographical, and reflect not only our lives today and as children growing up in a large family, but also move beyond the documentary to explore the fantastic elements of our everyday lives, both imagined and real.”'

Julie Blackmon: New Work

Fahey/Klein Gallery / March 8 – April 21
Also Showing Vee Speers

LISE SARFATI: She

Christine #21 San Francisco, CA 2005. Photograph © Lise Sarfati
Courtesy Rose Gallery, L.A. and Brancolini Grimaldi, London

Sloane #15 San Francisco, CA 2007. Photograph © Lise Sarfati
Courtesy Rose Gallery, L.A. and Brancolini Grimaldi, London

Christine #10 Hollywood, CA 2006. Photograph © Lise Sarfati
Courtesy Rose Gallery, L.A. and Brancolini Grimaldi, London

Sloane #66 Oakland, CA 2009. Photograph © Lise Sarfati
Courtesy Rose Gallery, L.A. and Brancolini Grimaldi, London

La Lettre de la Photographie

Excerpts from my Interview with Lise Sarfati:

French-born Lise Sarfati has lived and worked in the United States since 2003. She produced six important series of photographs in America, each followed by major exhibitions. Two upcoming shows of her third series, She, will open shortly in London and in L.A., with a Twin Palms monograph to follow in the Spring, 2012.

Publisher Jack Woody (Twin Palms) confided about Sarfati’s work, "When I look at the women in her photographs I suspect in some way they are all self-portraits. Lise sees in these women an incredible endurance, confronting their circumstances across the surfaces of the indifferent western landscape they have come to occupy."

Q: What was your intention behind your series, She?

The ordinary and the singular. Universality. Anti-heroines. Projections and situations....My intention was to show a bit of the futility of our daily life, the simplicity of situations and our movements in our environment and to oppose this simplicity to another field: that of interiority, emotion, psychological relationships. It is to receive the emotion (of the 4 women) and to mix them with mine. I also had autobiographical elements that allowed me to situate myself emotionally: I have 3 sisters.

My point of view was not generic but I wanted to be immersed in a particular story between four women from the same family. This story had to have a generational dimension...In She and Gina are older, about 40 years of age, while Sloane and Sasha are younger, around 20. They are all sisters...The classic image of the mother is that of a woman drowned by the love for her little one. In She however, the mother, the daughter, the sister and the other sister can be rivals or enemies, competitors or indifferent.

Christine, the mother is the axis of this construction, the only woman who tries to satisfy her dreams. At first married to a Jehovah’s Witness in Arizona, she leaves her husband and her two daughters to live a fully liberated sexual life and becomes a dominatrix on the west coast. Then, she projects herself into a new dream: to become a rock star.

Gina cultivates a masculine/feminine sexual ambiguity and wears a black wig to look like her sister Christine. Sloane, Christine’s daughter, changes her appearance constantly going from a blond wig to discolored hair. She has been a nanny for two years. Sasha, Sloane’s sister, is perpetually depressed, enclosed in her cocoon and inclined to melancholia.

The environment is an important element. Christine is photographed in Oakland in the ghetto in a house she shares with a roommate. We meet Sloane in the ghetto in Oakland in the house of a friend of her mother’s. All these houses look alike with their wooden windows and their chimneys. They are the interiors of Hopper paintings. We see Gina coming out of a grocery store, these are environments linked to the 1970s. The only images of projection that are out of the ordinary are those of Christine in the desert...read the entire Interview with Lise Sarfati, La Lettre de la Photographie

She: Photographs by Lise Sarfati
Brancolini Grimaldi, London February 3 - March 17
Rose Gallery, L.A. March 31 - May 2012

She: Lise Sarfati, Text Quentin Bajac
Twin Palms Publisher, Spring 2012

JULIE BLACKMON: New Work

Snowday, 2010
Photograph © Julie Blackmon

Sharpie, 2011
Photograph © Julie Blackmon

Night Movie, 2011
Photograph © Julie Blackmon

Airstream, 2011
Photograph © Julie Blackmon

The Dutch proverb "a Jan Steen household" originated in the 17th century and is used today to refer to a home in disarray, full of rowdy children and boisterous family gatherings.

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JULIE BLACKMON is the oldest of nine children and now the mother of three. Her photographs have been honored with numerous awards since she began exhibiting, including American Photo Emerging Artists 2008, first prize from CENTER/Santa Fe Center for Photography Project Competition, and PDN's 30, among many others.

DOMESTIC VACATIONS: "The paintings of Steen, along with those of other Dutch and Flemish genre painters, helped inspire this body of work. As Steen’s personal narratives of family life depicted nearly 400 yrs. ago, the conflation of art and life is an area I have explored in photographing the everyday life of my family and the lives of my sisters and their families at home. These images are both fictional and auto-biographical, and reflect not only our lives today and as children growing up in a large family, but also move beyond the documentary to explore the fantastic elements of our everyday lives, both imagined and real...read more

Julie Blackmon's Domestic Vacations
New Work at Photo-eye Gallery

PAUL KRANZLER: Homeland

Father’s Slide Show in the Living Room, with Slides He Took in the States in the 1970s, Hörsching 2008. Photograph © Paul Kranzler

Gregor Exercising His Show Horse Dusty Diamond, Ybbsitz 2008.

Photograph © Paul Kranzler

Father with Mother’s Fox Fur in his Walk-in Wardrobe, Hörsching 2007
Photograph © Paul Kranzler

Austrian photographer, Paul Kranzler, was one of 100 photographers chosen to participate in Review Santa Fe 2011 with his series, Brut. "In Brut, Kranzler turns his lens on his own family, choosing 120 images from among the thousands he has taken of his family since 2004, and providing revealing captions about family history and the realities of everyday life. “In the living room my father likes to show slides he took in the States in the 1970s,” writes Kranzler. “He says that the town of Traun is Austria’s equivalent to Los Angeles, and he’s not wrong.”

“These are images of places and people I have known for a long time, whether related by blood or otherwise. And places and people who know those I know, and also people who I don’t know in places I have known for a long time. You become the way you are in your own environment. Relatives are an integral part of the genetic environment, and people, to whom you are not related and who become your relatives are always your closest environment. Indeed the people, places and landscapes of your own environment are always the most photographed motif in the world. Once you have been in a particular environment for a long time, it becomes your “home”, your “relationship”, your “family”, your “homeland”, your “cemetery”, your “prison”, etc. Perhaps one’s personal environment is four-dimensional: the three dimensions of space plus the fourth dimension, i.e. the emotion inherent to that (living/human) space.” –Paul Kranzler, BRUT, Fotohof edition

Paul Kranzler Website
La Lettre de la Photographie:
Review Santa Fe Part I / Part II

LENSCRATCH: The Family

VIEW THE FAMILY EXHIBITION

Lenscratch created an opportunity for photographers to exhibit one image that best represents their idea of FAMILY, which were published today. (Guidelines for future submissions here)

LENSCRATCH: An On-line Exhibition Opportunity

Family by Aline Smithson

Lenscratch will be creating exposure opportunities for photographers with group on-line exhibitions. Photographers will be allowed ONE entry per exhibition and all photographs will be published.

Submission Guidelines:
Image size: 72dpi at 1000px on the long side. Send name, title, location, and link to your work (website or other). In the subject of your e-mail, type the name of the exhibition (FAMILY, etc) and e-mail to: alinesmithson@yahoo.com. If your images are sized incorrectly or the submission is incomplete, they will not be posted.

Due Date: November 14th
Send one image that best represents your idea of FAMILY. Post will run on Thanksgiving

Due Date: December 27th
Send your FAVORITE image that you took in 2010. Post will run on New Year's Day

Due Date: March 17th
Send one image that best represents LUCK. Post will run on St. Patrick's Day

Due Date: April 25th
Send your favorite SELF PORTRAIT. Post will run on May 1st

CHRIS VERENE: Town Hall Meeting April 29

Family Chris Verene • Twin Palms Publishers
Monograph 80 Four-color Plates 120 Pages May 2010

My Twin Cousin's Husband's Brother's Cousin's Cousins
Photograph (c) Chris Verene /All Rights Reserved

The Pregnancy Test
Photograph (c) Chris Verene /All Rights Reserved

"CHRIS VERENE: TOWN HALL MEETING" April 29 NYC

Chris Verene hosts a group discussion and performance expanding on his new documentary photography book, "Family," which chronicles twenty-six years of his family and their struggling community of Galesburg, Illinois. More about the book here.

Thursday, April 29th, 6:30pm-8:30pm
POSTMASTERS GALLERY
459 West 19th Street (at 10th Avenue) NYC 10011

ALINE SMITHSON: Photographing Family

Copyright (c) Aline Smithson

Copyright (c) Aline Smithson

To create the series Arrangement in Green and Black: Portrait of the Photographer's Mother, Aline Smithson took photographs of her 85-year-old mother combining traditional photography techniques with hand painted color. The inspiration for the series began when she found a small print of Whistler's painting Arrangement in Grey and Black: Portrait of the Painter's Mother, at a neighborhood garage sale. The same weekend she found a leopard coat and hat, a 1950s cat painting, and what looked like the exact chair from the Whistler painting. "That started me thinking about the idea of portraiture, the strong compositional relationships going on within Whistler's painting, and the evocative nature of unassuming details," says Smithson. 

ALINE SMITHSON

The Griffin Museum of Photography  
April 7 - May 16, 2010

Arrangement In Green And Black
 PORTRAIT OF THE PHOTOGRAPHER'S MOTHER
The Atelier Gallery, 395 Main Street, Stoneham, MA

JULIE BLACKMON: New Domestic Vacations

Loading Zone, 2009 © Julie Blackmon / All rights reserved

Portrait, 2009 © Julie Blackmon / All rights reserved

The After Party, 2010 © Julie Blackmon / All rights reserved

Tinkertoys, 2010 © Julie Blackmon / All rights reserved

The stress, the chaos, and the need to simultaneously escape and connect are issues that I investigate in this body of work....I believe there are moments that can be found throughout any given day that bring sanctuary. It is in finding these moments amidst the stress of the everyday that my life as a mother parallels my work as an artist, and where the dynamics of family life throughout time seem remarkably unchanged. As an artist and as a mother, I believe life’s most poignant moments come from the ability to fuse fantasy and reality: to see the mythic amidst the chaos.

Julie Blackmon

Domestic Vacations
Published by Radius Books (here)

More About Domestic Vacations