2014 ATLANTA CELEBRATES PHOTOGRAPHY: Nigel Morris from Coney Island to Ethiopia

 The People of South Ethiopia

Photograph © Nigel Morris

The People of South Ethiopia

Photograph © Nigel Morris

Outside, New York

 Photograph © Nigel Morris

Nigel Morris with "The People of South Ethiopia" book

ACP's 2014 Portfolio Walk

I met Brooklyn based portrait and editorial photographer Nigel Morris at the 2014 Atlanta Celebrates Photography Portfolio Walk. 51 photographers traveled from across the country  to Atlanta to participate. You can check out Nigel Morris's beautiful portraits and projects on his website here.

NIGEL MORRIS

 Coney Island, Faces on the Boardwalk

 Photograph © Nigel Morris

 Coney Island, Faces on the Boardwalk

 Photograph © Nigel Morris

GREG GORMAN: 'Portraits' Opens in Berlin

Andy Warhol, Los Angeles, 1986
Photograph © Greg Gorman
Archival Pigment Print 50 x 40 inch

courtesy galerie hiltawsky

Tom Waits, Los Angeles, 1980

Photograph © Greg Gorman
Silver Gelatin Print 20 x 24 inch

courtesy galerie hiltawsky

American photographer Greg Gorman's exhibition PORTRAITS opens at Berlin-based galerie hiltawsky, September 13th. The 30+ portraits include actors Jeff Bridges, Robert De Niro, Leonardo de Caprio, Marlon Brando, Sophia Loren, Johnny Depp; music legends David Bowie, Jim Morrison, Tom Waits, Michael Jackson, Frank Zappa, and Philip Glass; and Pop Art icon Andy Warhol, to name a few. Many of these iconic black-and-white images became movie posters, covers of CDs or appeared in Life, Newsweek, Vogue and Rolling Stone magazines.

Greg Gorman: Portraits
Opening: September 12, 7 pm

September 13 – November 9, 2014
galerie hiltawsky, Berlin

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

RADCLIFFE 'RUDDY' ROYE: Instagram Activist

 

January 10, 2014 Gabriel -- self proclaimed son of David.

Photograph © Ruddy Roye Instagram.com/ruddyroye

December 31, 2013 The Designer (Unfinished and Unedited) I believe by design I am a designer. Shiny as a petal that was stained from last mornings early rain: Polluted water, skipping on second hand smoke to fill the banks of the raging rivers, rising again like streaming steam, steeped in soilings, to fall again like a Congolese Sapeur on flavoured flowers. I am by design, a designer. Grounded as any root pushing pass dirt and the contaminated loot we pretend to be fodder We call it organic, stringing, and slinging, profane pharmaceuticals into the earth to fertilize our minds I am by design, a designer. Made by man reaching to be higher, but being developed by our local sponsors Acting like we are better than the four legged creatures we carry in our DNA like that man Adam or was it Noah? Watching the world from our hand as we click away blindly with our index finger, Our gaze firmly pointed at the other. Instagram.com/ruddyroye

November 19, 2013 Extract from The Four Seasons (Unfinished, Unedited) Fall And he carried a broken black bag, with his needs and things. A bag that carried no food or clothes, But was filled with his dreams and pills. It is his whole-- Filled with all his earthly possession. Clutching tight it's twisted secrets He uses it to deflect life's cruel weapons. It's is a traveled bag, A carried bag Through centuries and Cross terrains It has been a beaten bag A mistreated bag left to hang in the harsh sun and the pouring rain. I watched him, face blackened, hidden by frustration, he is Everyman invisible and worn. Slowly, I watch him run from the sun and straight into the shadow and pleats of his broken black bag. Instagram.com/ruddyroye

January 29, 2014 "Another Year" -- Happy Birthday, Mom. Every year time sifts each atom that magically shapes her cheeks. It bunches up her brows And tries to redraw the smile etched across her two molded peaks used to pull the universe in. It pulls her eyes forward and forces her to weep Changed in a blink, stopped with a click. She was someone's moon, The waning pregnant shape now wrinkled and barren Was what I first howled at. I wore my first crown sliding down her future while she laid on her back. These days I bemoan time spent chasing a liquid dream hugging this brittle basket of American pies and picket fences watching my dough slip through unraveling seams. I am missing all her seasons. She sits for my camera singing, about a day to come when she will again see her beginning. So I steal a page, and her cheeks flick forward to mimic the click of another year. Straining itself through the magical sift of atoms I see her age peeling away with the tears That drip in this basket called distance and absence drying up to flake away like her life captured in a stare. Instagram.com/ruddyroye

December 27, 2013 Cyclops -- Walking with my eight year old today and talking pictures. He was trying to convince me that he knew what ingredients should be in a good picture. It was a fantastic couple of miles worth of conversation. Instagram.com/ruddyroye

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Radcliffe 'Ruddy' Roye is a Brooklyn based documentary photographer specializing in editorial and environmental portraits and photo-journalism photography. "Radcliffe is inspired by the raw and gritty lives of grassroots people, especially those of his homeland of Jamaica. He strives to tell the stories of their victories and ills by bringing their voices to matte fiber paper." With over 64,000 Instagram followers, Roye has redefined the art of communicating through images and words.

RUDDY ROYE.com

The photographs on this website are a Must-See!

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 Radcliffe Roye, Tuesday March 11 7pm

SVA, 136 West 21st Street, room 418F, NYC

i3: Images, Ideas, Inspiration Lecture Series

presented by MPS Digital Photography 

Photograph © Ruddy Roye

As seen in "The Street Types of New York"exhibition

co-curated by Paul Moakley and Anthony LaSala
Alice Austen House Museum, 2013

Photograph © Ruddy Roye

As seen in "The Street Types of New York"exhibition

co-curated by Paul Moakley and Anthony LaSala
Alice Austen House Museum, 2013 

I first saw Roye's portraits in an exhibition last summer curated by Time Magazine Deputy Photo Editor Paul Moakley and Photo Editor Anthony LaSala. I was blown away by his work and very honored he recently accepted my invitation to talk to my School of Visual Arts BFA Photography program students.
 

Ruddy Roye gave my students an inspirational, moving and informative talk and presentation of his work. He generously shared his own life experiences and career path. Thank you so much, Ruddy Roye.

NIR ARIELI: Inframen at Daniel Cooney

Austin, 2012. © Nir Arieli

 Clinton, 2012. © Nir Arieli

"Inframen" at Daniel Cooney Fine Art is a striking series of black and white infrared images of male dancers by New York based photographer Nir Arieli. "The infrared technique allows the artist to examine below the skin, to reveal the blemishes, scars, stretch marks, sun damage and other traces of wear that lie below the surface of his subject's outward appearance. As dancers, the men express themselves with their bodies, at once pushing their physical limits and maintaining beauty in their appearance and movements."

Nir Arieli launched his career as a military photographer, before receiving a scholarship to the School of Visual Arts in New York - he graduated with honors and has received numerous awards since. If you are in New York, don't miss this exhibition.

Elizabeth Avedon: What brought you to work with dancers which appear in most of your work?

Nir Arieli: My cousin Tal, an incredible dancer, introduced me to his dancer friends and their performances. I don't dance at all, not even at a party. I admire dancers because they can do what seems to me impossible. The training process of a dancer teaches the body to do things that it can't do naturally. I observe it like a child, like it's a super power. Aside from the physical qualities, these are people who are so dedicated to what they do, subvert norms of gender and thrilled to collaborate on projects of different art mediums - It's quite a pleasure collaborating with them.

EA: What is the "infra-red" process you use to shoot these?

NA: The infrared process is being done digitally. The photos are taken in high resolution and in color, and in the conversion process to black and white I imitate what the old infrared film used to do. In this technique the warm tones (which are the tones of everything that is under our skin) are turning dominant, therefore sun-damage, scars, stretch marks and freckles are all being emphasized, and the cool tones are turning light. 

Kyle, 2012. © Nir Arieli

Taner, 2012. © Nir Arieli

Nehemiah, 2012. © Nir Arieli

EA: Did you receive your scholarship to SVA through Stephen Frailey's "Photo Global" program?

NA: Stephen Frailey is a significant influence in my artistic journey. I wasn't a part of the "Photo Global" program but he was my department chair during my 4 year SVA BFA Photography program. He is a generous and special educator and artist. The 4-year scholarship I received was the "Silas H. Rhodes Scholarship," named after a co-founder of the School of Visual Arts.

EA: What type of photographs did you begin your career with? 

NA: In my mandatory military service in Israel I was lucky enough to serve as a photographer for the IDF magazine "Bamachane". It was a great experience which thought me not only technique but also a lot about what I'm interested in as a photographer. I realized that journalistic work which requires me to capture moments that I have no control over was not something that excites me. I'm more of a director or a sculptor, I need the interaction with the subject and I value the intimacy that is being created during a photo-session. 

EA: How does your early work contrast with your current fine art photographs? 

NA: The military was like an intense three year school program. We photographed something different each day, both documentary work and portraiture. I got to be on airplanes, on ships and in the desert... I was sent to do assignments. My current personal work is much more intimate and personal. It's about themes that I'm interested in, people that I choose and the dialog of the photo-session. It seems like it's the complete opposite but actually, there are some similarities. I had an agenda as a military photographer to find that gentleness and sensitivity in the soldiers I photographed, which is something I do in my current work. I feel like that period set down the first bricks in this "castle" I'm building.

NIR ARIELI: INFRAMEN 

Exhibition to March 8 

Daniel Cooney Fine Art, New York

FACES: The Darkroom Gallery

JUROR'S CHOICE:  Innocence

 Photograph by John F. Martin

FOUR HONORABLE MENTIONS

 Maleficent

Photograph by Lori Pond

045-Philadelphia

 Photograph by Sheri Lynn Behr

Portraits of Silence, Northern Sri Lanka

 Photograph by Ashok Sinha

David Bram

 Photograph by Nate Mosseau

THE PREMISE FOR SUBMISSIONS

"Each portrait reveals something of the sitter, the photographer and also of us as viewers. No one image can muster a whole and complete being, no matter how much we believe this could be so. This is the part of the photograph we create in our imagination, we fill in each crack and hole with a sort of personalized reasoning. And all these unknowns in the midst of true transparency."

"Eye contact is made or retracted, body language boastful, reticent or indecipherable. Facial expressions can be hard at work or numbly slack. While subjects have a power over these photographic outcomes, it is the choice of the photographer to coax or mute said expressions for their artistic offering." –  Damaris Drummond, Darkroom Gallery

THE JUROR'S FINAL SELECTION

"As a record number of entries were received for FACES, making the final selection for this exhibit was difficult. There were many impressive images and I found it painful to have to leave any behind. Among the many well-composed portraits, I chose images based not only on technical skills, but also on an indefinable element surrounding the expression or emotion projected. I favored images that evoked an air of mystery or clarity; a moment of joy; a secret not shared or a place we may never visit - a point in time captured in the past suggesting unknown possibilities in the future."– Juror, Elizabeth Avedon

FACES EXHIBITION

Dec 12 – Jan 5, 2014

 Faces Artist's Reception
Sunday, January 5, 2014 at 3:00pm
Darkroom Gallery, Essex Junction, Vermont

View All 60 Choices Here

Juror: Elizabeth Avedon 

AMY ARBUS: Tintype Portrait Evening Dec 13

One 8" x 10" portrait with Amy Arbus - $600

Penumbra Foundation brings you the exclusive opportunity to have your own 8" x 10" tintype made by renown portrait photographer Amy Arbus. For more details and to book your appointment visit their Website. 

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AMY ARBUS
Tintype Portrait Evening
December 13th | Friday
3:00 PM - 9:00 PM

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Photographer Amy Arbus has published five books, including the award winning On the Street 1980-1990 and The Inconvenience of Being Born. The New Yorker called The Fourth Wall her masterpiece. Her most recent, After Images, is an homage to modernism's most iconic avant-garde paintings. Her photographs have appeared in over one hundred periodicals around the world, including New York Magazine, People, Aperture and The New York Times Magazine. She teaches portraiture at the International Center of Photography, NORDphotography, Anderson Ranch and The Fine Arts Work Center. Amy Arbus is represented by The Schoolhouse Gallery in Massachusetts. She has had twenty-five solo exhibitions worldwide, and her photographs are a part of the collection of The National Theater in Norway, The New York Public Library and The Museum of Modern Art in New York.View more of Amy Arbus's work.

ELLEN WALLENSTEIN: Respecting My Elders

 Editta Sherman, b. 1912, Photographer
Photograph © Ellen Wallenstein

Rosalind Solomon, b. 1930, Photographer
Photograph © Ellen Wallenstein

 David Vestal, b. 1924, Photographer
Photograph © Ellen Wallenstein

Rebecca Lepkoff, b. 1916, Photographer
Photograph © Ellen Wallenstein  

Milton Glaser, b. 1929, Graphic Designer
Photograph © Ellen Wallenstein 

Buy RESPECTING MY ELDERS here
Photographs by Ellen Wallenstein

Elizabeth Avedon: What inspired you to begin this project?

Ellen Wallenstein: When my Dad died in 1996, he was 79. I couldn’t be there for him at the end of his life, and that led me to think about being a comfort to others at that time. So in 2001, I trained to become a hospice volunteer. I was assigned to Anne, who was in her mid-eighties; I was turning fifty, which is a big turning point in one’s life.

Anne was a very interesting and incredible person, smart and funny, wise and beautiful. She had lived a very interesting (if ultimately tragic) life and I was very moved by her. I made photographs in her apartment and of her and her cat over a period of time. Those photographs (“Opus for Anne”) earned me a NYFA Fellowship and literally changed my life as an artist.

After she died I decided to photograph other people of her generation (my parents’ generation) who had inspired me, intellectually and artistically. I began to write letters and asked my friends and colleagues for suggestions and introductions.

EA: Did you always envision it as a book?

EW: I’m always interested in editing and making workbooks – from the start I pasted little photos in a notebook, and then eventually made an expanding accordion that I carried with me to the shootings. People are more comfortable if they’ve seen some of your other photos, so they get a sense of what you are doing. Showing them the book was part of introducing myself to them.

So I guess in the back of my head there was always the idea to publish it someday. I make a lot of one-of-a-kind books, I teach book-making, and so the book form is a natural way to envision my work. Also, that kind of goal can keep you on track.

But I had no idea that it would end up being this book, with its really beautiful design by Renee Rockoff and the use of quotes and footnotes. That developed after I raised the money for it and began to work with Renee. The book took a very long time: we both like to get things right. Ultimately it was really good for the book, but it took a year longer than I had promised my supporters.

I have a wish list of 80-100 more people I want to photograph, but I had to stop at a certain point to work on the first volume. I’ve sort of lost my momentum, not to mention my nerve, but I promised myself I’d continue with this. I have a sabbatical coming up next spring so I’ll have some extra time to get back to the job of outreach, and shooting, and finding a commercial publisher.

EA: Who was the first portrait you took for this series?

EW: Aside from my mother and her friends, Rebecca Lepkoff was the first person I photographed. I met her at an opening at City College, a show of photographers from the Upper Upper West Side (which is where I grew up, coincidentally.) Rebecca was part of this group - I introduced myself to her and asked if I could make a portrait and she said of course. I visited her in the fall of 2008. I’ve run into her from time to time; she’s still out there on the streets photographing in her 90s!

EA: Who is the oldest person you've photographed?

EW: EvaZeisel was 102 (she lived to be 104). She was still working everyday, but was very frail and quite deaf so it was hard to communicate with her. Bel Kaufman was 100, and Ruth Gruber turned 100 the week after I photographed her. Bel and Ruth are friends; I was introduced to one through the other. They are both still around.

EA: Which personalities stand out for you?

EW: There was a big Intimidation Factor for me with some people. Milton Glaser and JudithMalina were the most intimidating, personality-wise.

I was aware that Mr. Glaser is a busy man and that he didn’t have much time for me. But he was gracious. I photographed him in his conference room for about 10 minutes, until he said, “Okay, you got it. I have to go back to work”. Which he did. And, I think I did “get it”- I really like the photo of him- with his profile opposite the one in his Piero Della Francesca piece behind him. I think he looks quite elegant and handsome.

Ms. Malina wanted to know why she had to hold an object; she didn’t think it worked- her cherished object was the peace sign necklace she’d been wearing since 1969.

One of the kindest was A.R. (Pete) Gurney, who was really enthusiastic about my project and gave me many introductions (and a pair of theater tickets). Also Bel Kaufman who was so welcoming. And Irwin Corey, because of his personality and his history - he was 99 - going out every day to entertain and panhandle change from motorists at the midtown tunnel, to send to a charity in Cuba – ever the activist and fighter for human rights. And of course my cover girl, Editta Sherman.

EA: Please tell me about Editta Sherman! How did you meet?

EW: Editta Sherman was 97 when I photographed her. She had photographed all the screen stars in the 30s, 40s and 50s. Now she’s 101 and quite the well-known character, especially because of Philip Gefter and Richard Press’s film “Bill Cunningham New York” and Josef Astor’s “Lost Bohemia”. My friend Kati Meister suggested her to me.

I visited Editta this past summer, just before her birthday. She was thrilled with my book and excited and proud to be on the cover and invited me to her new home. She no longer lives at Carnegie Hall, which is a sad part of history, but she has a lovely apartment on Central Park South overlooking the park, not a bad place to end up in one’s life. She’s working on a book of her photographs, which she hopes to publish soon; she talked quite a bit about that.

EA: Do you keep in touch with any of your subjects?

EW: JeanyeeWong, a wonderful calligrapher became a good friend. (She designed the word Seventeen for the magazine cover, the Heinz ketchup label, and thousands of book covers). I used to visit her at her fifth-floor walk-up (!) near Gramercy Park, but recently she moved to an assisted living facility uptown, where I go to visit sometimes. She’s 92 now and quite frail; she couldn’t make it up all those steps anymore. 

Bel Kaufman wrote me a lovely thank you note for sending her the book which she signed “Your new old - very old - Friend”. And I’ve been in touch with Pete Gurney and Edward Albee, sending them updates on my work and hearing back from them.

EA: How did you raise funds? What can you say about that process?

EW: I raised funds for this book through United States Artist.org, which is a “micro-philanthropy” that helps artists and artists’ projects. You have to be a vetted artist to post a project, which put me in some good company. And the donations are tax-deductible.

My original idea was to make a book and create a website for the project, but that was a bit of an overreach! There were some expenses I hadn’t counted on, like an ISBN number and postage costs, etc. But, I made something I really like that was distributed to all my supporters and is available online for a reasonable price.

98% of my supporters were my own friends and contacts. It helps to be older: my circles are actually very wide (and overlapping) at this point. Raising funds, asking for money, is an arduous task. Most artists aren’t cut out for it. I personally found the process excruciating. However, I did it and I’m proud and grateful to have met my goal, thanks to my friends. I’m thrilled to have my book out there in the world.

EA: Is there anything interviewers have missed that you would like to say about your work, your book, about anything?
 
1. Always follow your ideas, your instincts, and your dreams. 
2. Do the work, do the work, do the work.

EllenWallenstein.com

LECTURE + BOOK SIGNING

The National Arts Club

Thursday, September 12, 2013, 6-8 P.M.
16 Gramercy Park South, NYC

 

Buy on MagCloud:  Respecting My Elder's 

CHRISTOPH KLAUKE | DOUBLE PORTRAITS

 Double Portraits  

Photograph (c) Christoph Klauke

Double Portraits  

Photograph (c) Christoph Klauke

Double Portraits  

Photograph (c) Christoph Klauke

Double Portraits  

Photograph (c) Christoph Klauke

German born Photographer Christoph Klauke, based in London, received his Bachelor of Arts degree from Brooks Institute of Photography in California. Over the years Klauke has gone on to work for many publications, including The New York Times Magazine, French Vogue and Vanity Fair, as well as solo exhibitions in London, Paris, Tokyo, Basel and Lugano.

His first book, The 28 Faces of Corinne Dolle, was published in 2011. I spoke with him recently about the upcoming launch in London of his second book, Double Portraits.

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EA: How long have you been working on your series, Double Portraits?

CK: I started Double Portraits with the intention of making a portrait photo book in early 2000. I had my own photo studio then, in an up-and-coming area of London called Spitalfields. After relocating to New York in the summer of 2001, I continued with the portraits in New York until 2004 and finally finished a third chapter on the West Coast in 2005. On returning to  London I thought I would be able to place the project with one of the specialist publishers but it proved impossible. I self-published my first photo book two years ago, as a form of trial run for the "Double Portraits" book.  I would recommend to other photographers to do the same. Although painful at times, it is incredibly rewarding to stay in control of the book production process.

EA: Are these portraits identical?

CK: No, the portraits are similar but not identical. There is a time lag of several seconds between the first exposure, the left photograph and the second exposure, the right photograph. All these portraits were taken with an 8x10" Deardorff camera, which requires using a heavy tripod. The left frame is focused and composed, the second is uncontrolled. The sitter knows that I am taking two pictures and is attempting to sit still. Since the depth of field in this close up setting is so shallow, there is inevitably some movement or at least a different expression in the second photograph. Combined together, the viewer's eye scans for differences and sometimes feels or imagines the moment in between.

EA: How did you arrive at this idea?

CK: Back in Spitalfields, in 1999, I was asked to exhibit in a small space, a former tailor's shop called "Made to Measure" in a Georgian house in Princelet Street.  I did a series of sittings with a local beauty and neighbor, and the first double portraits evolved. The images had to be printed large scale since the work could only be viewed from the street through the shop front window. Today, I am much happier working with small prints, closer to life size. 

EA: How large are the actual prints?

CK: The image size is 8 1/2 x 11" on 9 x12" Agfa paper, so just a minimal enlargement from the 8 x 10" size of the camera negative. The hand prints were made by Brian Dowling in London, close to the time of the sittings. Our intention was to produce a master set of reproduction prints for this book. Other than this set, I have a couple of spare prints of each image and that's it. We had no idea at the time of printing that the paper would disappear soon after. Agfa went bust and Kodak, which made the second most suitable paper stock, also stopped making the paper. It's worth mentioning that the photographs are reproduced 8x10" in size in "Double Portraits"; this is a homage to the 8x10" negative format.

EA: Who was involved with the making of this book?

CK: Stephen Male did the edit and sequencing of "Double Portraits", so when I met with Leon Krempel, I had a dummy with blind text in hand. It was suggested that I approach him with a view to writing the introduction because Krempel had curated and put together a very interesting exhibition and book called "Marlene Dumas: Tronies," where he contrasted historical paintings by the Dutch Masters with contemporary paintings by Marlene Dumas. Tronies are small, isolated paintings of heads. While a rigorous art historian interested in portraiture, Krempel was able to convey what the photographs feel like, as opposed to what they look like.

EA: The book has beautiful design details. Can you tell me a little about the printing, paper and binding?

CK: Lena Mahr is responsible for many of these details. She finished the book design based on the initial design direction by Stephen Male with great diligence. The book was printed by Optimal, one of the top printers in Europe. The paper we used is 115g/m2 Phoenix Motion by Xantur. In Germany the binding we used is called "Japanese binding", but I believe in English it is either known as pouch binding or French binding. Another term for the binding is Japanese fore-edge fold. Besides the obvious advantage of printing only on one side of the paper and having no 'show through', the pages lie almost perfectly flat when opened and don't close on themselves. I have to give the printer credit for this suggestion. It made a big difference for this project.

EA: Your book launch will be September 4th (at Claire de Rouen Books) in London. Any other future plans for this series?

CK: The "Double Portraits" book is really the finished work. There are only 750 books printed and all are numbered.  I would like to produce a sequel, which would involve spending a year or so in Africa, Asia and India, but this would require external funding. And who knows if Kodak survives. One day soon there may not be any film left to take these kinds of photographs.

ChristophKlauke.com

"The first portrait of each pair results from a carefully-established relationship between photographer and sitter. The second shot is taken a moment after the first, capturing the consequences, in the sitter, of becoming a ‘subject’. Sometimes these second portraits show us what León Krempel calls ‘sundered egos'. All of them describe the passing of time and, as such, allude to the way in which portraiture aspires to posterity."
  

DoublePortraits.com

  

Double Portraits. Photographs Christoph Klauke

A Limited Edition Hardcover. 156 pages, 56 photographs

First Edition, 750 numbered copies

Contact: Eudora Pascall: 44 (0) 7900 568 745

doubleportraits@gmail.com

DoublePortraits.com

DAVID SCHEINBAUM: Hip Hop Portraits Book

 Professor Griff of Public Enemy, 2002
Photograph © David Scheinbaum

The Executioners, 2004

Photograph © David Scheinbaum

 Method Man and Redman, 2002

Photograph © David Scheinbaum

 Mos Def, 2002

Photograph © David Scheinbaum

New Publication

Hip Hop: Portraits of an Urban Hymn

"Since its inception in the 1970s, hip hop music and the culture surrounding it has become a hugely influential and popular musical form in America and around the world. Its popularity extends beyond the urban centers where it was born, and pervades and influences youth culture around the globe.  However, few artists have created serious and powerful photographs that explore the breadth of the phenomenon.  With this volume, David Scheinbaum has done just that.  His portraits of Erykah Badu, Chuck D., George Clinton, Common, Mos Def, Del-Tha Funkee Homosapien, Sage Francis, Professor Griff, KRS One, Mike Relm, Tajai, Wu-Tang Clan and Yelawolf (among others) approach hip hop as a positive cultural influence akin to the youth movement of the 1960s.  Scheinbaum's photographs are accompanied by essays by Gaye Theresa Johnson and Michael Eric Dyson, an artist conversation with Frank H. Goodyear III and an introduction by Brian Hardgroove of Public Enemy."

Pre-order David Scheinbaum's

Hip Hop: Portraits of an Urban Hymn 

David Scheinbaum is former Director/Chair of the Photography Department at the Santa Fe University of Art and Design, and Professor Emeritus, College of Santa Fe. He is also one half of the well known fine art photography gallery, Scheinbaum and Russek LTD, the exclusive representatives for the Beaumont and Nancy Newhall Estate and for the Eliot Porter Estate.

Here is a little background. In 1978, Scheinbaum moved to Santa Fe, New Mexico with the hope of meeting and working with the pre-eminent photography scholar, Beaumont Newhall. This dream came true. Their professional relationship had many facets and a friendship quickly developed. In 1979 David began printing for Beaumont Newhall. The many people who came to work and study with Beaumont often asked to see his photographs – thus David found himself in the position of creating a “meeting place” for photographers and collectors. The idea for a gallery evolved and in 1980 when Janet Russek moved to Santa Fe they opened their doors with a retrospective of Willard Van Dyke’s work.

While David continued to work with Beaumont Newhall, Russek began assisting Eliot Porter. Their relationship also grew from the studio to the gallery and the gallery began to expand representing both local and international photographers. To date they have exhibited and worked with over 300 photographers. Scheinbaum and Russek have approached the gallery world through their roles as educators, artists, and collectors and bring to their gallery an appreciation of photographers, the fine print and the history of photography.

David Scheinbaum's other publications include, Bisti, photographs of New Mexico's Bisti Badlands (University of New Mexico Press, 1987), Miami Beach: Photographs of an American Dream (Florida International University Press, 1990), and Stone: A Substantial Witness (The Museum of New Mexico Press, 2006). He and his wife, Janet Russek, have collaborated on two projects; Ghost Ranch: Land of Light, Photographs by David Scheinbaum and Janet Russek (Balcony Press, 1997) and Images in the Heavens, Patterns on the Earth: The I Ching (The Museum of New Mexico Press, 2005). And now his most recent publication, Hip Hop: Portraits of An Urban Hymn (Damiani Editore) will be released in November 2013. This work was featured at The National Portrait Gallery of the Smithsonian Institution, entitled Recognize: Hip-Hop and Contemporary Portraiture, and at the Norton Museum of Art. His current work focused on the Lower East Side of New York.

I attribute my renewed love and appreciation for Photography to Janet Russek and David Scheinbaum. Their educational evenings, generously given in their Gallery on the fine art of printing and the history of photography, were highlighted by the most extraordinary examples of vintage original prints by Eliot Porter, Ansel Adams, Atget, Callahan, Kertesz, among so many other great photographers. Check out the Scheinbaum and Russek Gallery on your next visit to New Mexico.