2.25.2010

THE MUSEUM OF UNNATURAL HISTORY: CLAMPART

Struggle
Photograph (c) Amy Stein /All Rights Reserved

Katie at Natural History Museum, 1997
Photograph (c) Blake Fitch /All Rights Reserved

Animalia, 2009
Photograph (c) Nicole Hatanaka
/All Rights Reserved

Storage, 2009
Photograph (c) Nicole Hatanaka
/All Rights Reserved

THE MUSEUM OF UNNATURAL HISTORY
Feb 25–April 10

The artists included in The Museum of Unnatural History exhibition are Richard Barnes, Justine Cooper, Jason DeMarte, Blake Fitch, Jill Greenberg, Nicole Hatanaka, Harri Kallio, Hippolyte-Alexandre Michallon, Lori Nix, Matthew Pillsbury, Elliot Ross, Amy Stein, and Marisol Villanueva. My Interview With Richard Barnes

2.20.2010

31 WOMEN IN ART PHOTOGRAPHY IN MARCH

Sugar Cane, Maui, Hawaii
Photograph (c) Emily Shur
/All Rights Reserved

Snowbound series, Wish
Photograph (c) Lisa M.Robinson
/All Rights Reserved

Cave
Photograph (c) Ann Woo
/All Rights Reserved

Bird Watching (cardinal)
Photograph (c)Paula McCartney
/All Rights Reserved

31 Women In Art Photography: March 6 – April 10, 2010

An exhibition celebrating 31 of the most innovative women in new art photography. Curated by Charlotte Cotton and Jon Feinstein. Presented by Humble Arts Foundation and Affirmation Arts.
Affirmation Arts 523 W. 37th Street NYC

The exhibition, an eclectic mix of new talent, culled from open submissions, includes photographs by Erica Allen, Amelia Bauer, Claire Beckett, Gilda Davidian, Jessica Eaton, Naomi Harris, Carmen von Kende, Anna Krachey, Yvonne Lacet, Erika Larsen, Jessica Mallios, Alison Malone, S. Billie Mandle, Paula McCartney, Rachelle Mozman, Yamini Nayar, Sarah Palmer, Kristine Potter, Heather Rasmussen, Justine Reyes, Lisa M. Robinson, Irina Rozovsky, Sasha Rudensky, Victoria Sambunaris, Robin Schwartz, Emily Shur, Brea Souders, Rachel Sussman, Kirsten Kay Thoen, Carson Fisk-Vittori, and Ann Woo.

HASSELBLAD MASTER AWARDS WINNERS

Photograph (c) Lyle Owerko /All Rights Reserved

20/01/2010: With submissions from almost 3,000 photographers, ten photographers have been awarded the coveted title of Hasselblad Master.

Congratulations to the 2009 Hasselblad Masters Awards Winners!

Up-and-Coming: Lyle Owerko, NYC, USA
Wedding: Joao Carlos, NYC, USA
Portrait: Claudio Napolitano, Miami, USA / Caracas, Venezuela
Fashion: Dirk Rees, London, UK
Product: Mark Holthusen, San Francisco, USA
Fine Art: Quentin Shih, Beijing, China
Architecture: Stephan Zirwes, Stuttgart, Germany
Landscape: Bang Peng, Hong Kong
Editorial: Nina Berman, NYC, USA
General: Mark Zibert, Toronto, Canada

Read more about the competition HERE, with two of my favorite finalists, Sean Perry and Brad Wilson.

NEW BOOK: The Pictorial Consequence

Self Portrait (c) Caio Fernandes /All Rights Reserved

An Existence (Almost) Missed
Copyright (c) Caio Fernandes /All Rights Reserved


Brazilian artist, Caio Fernandes, is sometimes described as a Realist painter, "though the sheer intensity of his work sets him apart from most contemporary Realist painters. With a highly individualistic style of painting, Caio reveals the raw physical characteristics and inner tensions of his subjects."

Fernandes published his work
on Blurb only a month ago, and already collector's from all over the world have purchased his book, The Pictorial Consequence: 1999 to 2010. Follow Caio's exceptional world on his blog, Mein Welt. More About Caio Here.

BLURB BOOK OF THE WEEK: My Brother's War

Preview Jessica Hine's Book My Brother's War

Photograph (c) Jessica Hines /All Rights Reserved

Photograph (c) Jessica Hines /All Rights Reserved

Thank you, Blurb!

2.18.2010

THE DALAI LAMA MEETS THE PRESIDENTS

His Holiness the Dalai Lama and President Barack Obama
Photograph (c) Sonam Zoksang /All Rights Reserved

President Barack Obama Meeting with His Holiness the Dalai Lama
Official White House photograph by Pete Souza 2.18.10

H.H. the Dalai Lama in Front of The Capitol
Photograph (c) Sonam Zoksang /All Rights Reserved

President George Bush and Nancy Pelosi meet with H.H. the Dalai Lama
Photograph (c) Sonam Zoksang /All Rights Reserved

H.H. the Dalai Lama with U.S. Secretary of State, Dr. Condoleezza Rice
Photograph
(c) Sonam Zoksang /All Rights Reserved

President Obama met with H.H. Dalai Lama, the exiled Tibetan spiritual leader, at the White House today. Every U.S. President has met with H.H. The Dalai Lama since he was awarded the Nobel Peace Prize in 1989.


2.16.2010

MIRA ZAKI: Wanderlust

Florence, Italy
Copyright (c)
Mira Zaki /All Rights Reserved

Melbourne, Australia
Copyright (c)
Mira Zaki /All Rights Reserved

Paris, France
Copyright (c)
Mira Zaki /All Rights Reserved

New York photographer, Mira Zaki, describes herself as a "wanderlust food and travel photographer trying to get to as many countries as humanly possible and sampling all the cuisine along the way!"

MIRA ZAKI WEBLOG
MIRA ZAKI WEBSITE

2.15.2010

LENS CULTURE: International Exposure Awards

Lens Culture International Exposure Awards

Jim Casper of "Lens Culture" wrote a lovely piece today on his blog about Jessica Hine's book, "My Brother's War" and my design. (Now in LensCulture's Feb 2010 Archive) He wrote:

Photobook: Young Soldiers and Traumatic Stress after War

"Here's another success story that came out the Lens Culture International Exposure Awards 2009. Photographer Jessica Hines won an honorable mention in our global photography competition -- and thus an opportunity to publish a photobook at Blurb.com. She took this as inspiration and teamed up with Elizabeth Avedon (the designer of many of Richard Avedon's stunningly beautiful photography books, and his daughter-in-law) to publish this blockbuster of a book. It's a remarkable photobook that conveys an important political message as well as the compelling story of a personal tragedy that confronts some difficult, universal truths. Brilliant combination of great photography, thoughtful text, and excellent book design. Highly recommended!" Thank you, Jim!

LensCulture WebLog / Feb 2010 Archive

PRESIDENTS DAY: Monroe Gallery, Santa Fe

Senator John F. Kennedy Campaigning with his Wife in Boston
Photograph Carl Mydans © Time Inc.

Navy CPO, Graham Jackson, Playing "Going Home" as President Roosevelt's Body is Carried, Warm Springs, GA, April 13, 1945. Photograph © Ed Clark /All Rights Reserved

Richard Nixon giving a Victory Speech, 1968
Photograph Lee Balterman © Time Inc

The Lindy Hop, The Savoy, Harlem, 1939
Photograph © Cornell Capa /All Rights Reserved

The Monroe Gallery of Photography, in Santa Fe, New Mexico, specializes in classic black & white photography with an emphasis on humanist and photojournalist imagery. It was founded in 2001 by Sidney and Michelle Monroe, following 20 years of gallery experience in New York City. The gallery features work by more than 50 renowned photographers and also represents a select group of contemporary and emerging photographers. Gallery Photographers

2.13.2010

ROBERT RAUSCHENBERG INTERVIEW: Guggenheim Museum Bilbao "Gluts"

An Interview With Robert Rauschenberg Book Cover
Elizabeth Avedon Editions | Vintage Contemporary Artists Series
Back Cover: Robert Rauschenberg. Metal Assemblage, Swaddle Glut, 1986
Front Cover: Photograph (c) Richard Avedon /All Rights Reserved



Robert Rauschenberg, Greek Toy Glut (Neapolitan), 1987
Metallo Asemblato (c) Estate of Robert Rauschenberg



Robert Rauschenberg, West-Ho Glut, 1986, Metallo Asemblato
(c) Estate of Robert Rauschenberg

I think of the "Gluts" series as souvenirs without nostalgia. What they are really meant to do is give people an experience of looking at everything in terms of what its possibility might be. –Robert Rauschenberg

+ + +

The following text is from An Interview With Robert Rauschenberg by American Art Critic, Barbara Rose, published under the imprint "Elizabeth Avedon Editions | Vintage Contemporary Artists" by Random House (Here):

BR: There's a lot of recycling and reuse in your work. You believe that you don't have to throw something away just because it's old. There's always a possibility for a use. This isn't a common idea. People are really into "new" today.

RR: The only thing I like to keep out of a work, no matter what the materials are, is the history of the process of putting it together. I don't bring that into it. I think of the "Gluts" series as souvenirs without nostalgia. What they are really meant to do is give people an experience of looking at everything in terms of what its possibility might be.

BR: Your art has certainly always been available. You don't need to have an enormous background on Rauschenberg's history to relate to his work. There is always something there to which anybody can relate. That's why it's popular. You may not contrive to be popular, but you are.

RR: When I see the sorts of things you are referring to, I try to destroy them. I'm sure that I haven't been able to avoid developing some "classic" qualities, and I don't mind them being hidden. I just object to their being the subject.

BR: You prefer a composition that is not obviously a composition.

RR: I prefer not to brag about it's sophisticated anatomy.

+ + +

BR: I have watched you work, and it is an interaction–it is your encounter, and you interact with this material or this image or whatever, but you never plan your work. There is no plan or sketch. It's absolutely pure process. Which comes, I believe, from abstract expressionism. It's the process. You don't know until it's finished what it is, and it's done when you've decided that that's it–I think that's an aspect of your work.

RR: Actually, when I'm painting, I think that my mental attitude is to drive with the brakes on, and when I sense a funny smell, then I turn off the ignition.
+ + +

RR: For me, Tibet was a living relationship with people. It was a reaffirmation of the fact no matter what the language is or the customs are, there is a general love between human beings. I know it sounds simplistic, but you could see it in Tibet. Some places it's harder to break through that. These people–perhaps because the air is so thin, or their life is so hard, or because they are so religiously rich–have love all over the place. I mean, every step, no matter how cold it is or how hot or how muddy, is still part of the palette of friendship.
+ + +

2.12.2010

MIKE + DOUG STARN: Big Bambú

Photograph (c) Mike + Doug Starn /All Rights Reserved

Photograph (c) Mike + Doug Starn /All Rights Reserved

Photograph (c) Mike + Doug Starn /All Rights Reserved

Photograph (c) Mike + Doug Starn /All Rights Reserved

Big Bambú is connotative of an autonomous, spontaneous, self-governing, disorganized network responding to itself to better navigate the environment. “It represents me- in that I am who I was, and, I am completely different than I was when I was a little boy.” – Doug Starn

"In September 2008, the Starns took over the former Tallix Foundry in Beacon, New York (50 foot high ceilings by 320-foot long by 65 foot wide), and the construction of Big Bambú immediately started. As of November 15th, more than 2,000 bamboo poles have been assembled creating an extraordinary intricate mental and physical network system

This artwork, in the realm of architecture and performance, starts as a massive tower created from lashed together bamboo poles and brings into space representations of complexity and chaos. At its pinnacle, the continually evolving architecture being built from within (no outside scaffolding or support) will cantilever out as far as the bamboo poles network allows, and then will bridge down to the floor. At this point the first tower will be dismantled pole by pole and carried through the structure and down to create another monumental tower and then on again, walking down the 320 feet space, almost like a Slinky and then back again. Big Bambú will evolve through the continuous rebuilding and rethinking of the structure at all times.

The Starns are directing 8 to 15 rock climbers at a time, who are assembling the structure’s vernacular network in an ongoing action. Big Bambú is consistent with the idea of a self-healing organism; within this “fabric” of bamboo pole network, the artists expect that some poles will stress and fail, but that the structure (the bamboo poles are fibrous and flexible unlike wooden boards that crack and break apart) will maintain some integrity. The tower represents the concepts of self-organization, adaptation and the interconnectedness of all things." ...from starnstudio.com

2.09.2010

JOAKIM ESKILDSEN: The Roma Journeys

Road to Mironu
Photograph (c) Joakim Eskildsen
/All Rights Reserved

Venus and Mucusoara, Stefanesti
Photograph (c) Joakim Eskildsen
/All Rights Reserved

Strada Eternitatii, Vlasca
Photograph (c) Joakim Eskildsen
/All Rights Reserved

The Long Plaits, Tirnaveni
(c) Joakim Eskildsen
/All Rights Reserved

Family in Szent Miklós, Haranglab
Photograph (c) Joakim Eskildsen
/All Rights Reserved

Danish photographer, Joakim Eskildsen, traveled with writer, Cia Rinne, through the 7 Roma countries (Hungary, India, Greece, Romania, France, Russia, and Finland), photographing this project for seven years. Often staying with families for long periods in order to learn about their life, their culture, and their situation, The Roma Journeys is a very personal document of these encounters, giving a contemporary view of the lives of the Roma people and their situation today.
FotoSalon i Århus (Lecture), 27 February, 2010

2.06.2010

JESSICA HINES: My Brother's War

Photograph (c) Jessica Hines /All Rights Reserved

Photograph (c) Jessica Hines /All Rights Reserved

Photograph (c) Jessica Hines /All Rights Reserved

The Reflection: "In September of 2009, I visited the Vietnam Veterans Memorial Wall in Washington DC for the first time...What are missing from the wall are the names of those who died war-related deaths: from suicide, from injuries, and from exposure to harmful chemical substances." Photograph (c) Jessica Hines /All Rights Reserved

The Reunion: “Brothers Forever” was a phrase often heard mentioned and saw written in their photo albums commemorating time together in the war." Photograph (c) Jessica Hines /All Rights Reserved



The Remembrance: The toys, reminiscent of the games we played as children such as “cowboys and Indians”, embodied the notion of the cultural ideal role model for us. This “hero/tough-guy” role model was encouraged. Photograph (c) Jessica Hines /All Rights Reserved

The box stood packed away high on a closet shelf for over twenty-five years. Packed by my mother, it contained the letters, photographs, medals, and important papers that had once belonged to my deceased brother, Gary. It was serendipitous that I came to open the box and read the letters. Not having read them since I was a child, the time period was brought back to life for me. It was as if I could hear my brother speaking – it was as if he were still alive and I was listening to him talk about his life.

+ + +

Artist and storyteller Jessica Hines, uses the camera’s inherent quality as a recording device to explore illusion and to suggest truths that underlie the visible world. At the core of Hines’ work lies an inquisitive nature inspired by personal memory, experience and the unconscious mind. Hines began to cultivate her creative disposition early in life and her love of the arts led her to attend Washington University in St. Louis, where she earned a Bachelor of Fine Arts degree. Continuing to pursue her interests, she studied photography at the University of Illinois at Urbana-Champaign where she received a Master of Fine Arts degree. (from My Brother's War)

Jessica approached me to design a portfolio to best showcase her Photo Essay, My Brother's War. This was to be sort of a book 'dummy' to show potential publishers her intention behind her project in which she attempts to gain a better understanding of what happened to her brother, Gary, when he was a soldier in the Viet Nam War. Drafted, he served two years and returned home a victim of Post Traumatic Stress Disorder. Ten years later, he took his own life.

I was honored to be asked to work on this beautiful and moving project.
I was impressed with the amount of research Jessica put into locating and speaking with her brother's wartime friends and attending the reunion of her brother's units in Viet Nam: The 178th ASHC, The Boxcars and the 132nd ASHC, Hercules, as well as traveling to Viet Nam to retrace her brother’s “footsteps”. Hines photographed her brother's letters, written home during his service in Viet Nam, which run throughout the seven chapters. I particularly wanted my cover design to reflect the emotion I felt when first imagining Gary's Army dog tags, the absence of the person.

Jessica won a multitude of photography awards this past year, including the International Photography Awards: three Honorable Mention awards for Editorial: War/Conflict, Fine Art, and Deeper Perspective, PX3 Prix de la Photographie Paris: 1st Place Fine Art and PX3 Book Award in People’s Choice Award, Lens Culture International Exposure Awards 2009: Honorable Mention, The Mind’s Eye 2009 at The Center For Fine Art Photography: Director’s Award. Her work was selected by the Pulitzer Prize-winning photo editor, Stella Kramer, and published in Portfolio Showcase, Volume 3, 2009. Her portfolio was chosen as one of Photolucida’s 2008 Critical Mass Top 50 and she is a finalist for The Aftermath Project Grant in 2010, among others. Jessica's work has been selected for Houston's upcoming FotoFest 2010 Portfolio Review in March and her work continues to be seen in The New Yorker magazine.

View Jessica Hines "My Brother's War"

LENSCULTURE Weblog

May 2010 Update: Congratulations! Jessica Hines is a winner in the PDN Photo Annual. One of her images from "My Brother's War" is in PDN's May issue!

2.03.2010

LAURIE TüMER: Glowing Evidence

Glowing Evidence: Hector's Hands
Photograph (c) Laurie Tumer /All Rights Reserved

"I always thought of myself as environmentally aware, but a pesticide poisoning at home in 1998 motivated me to deepen my understanding. As I read more about the health and environmental consequences of pesticides, I expected pictures. When I saw none, I began to look for ways to make my own, to help me understand something difficult to imagine: the invisible ubiquity of pesticides, not only their presence on conventional farms but how they find their way unwittingly into our homes and our bodies. I found inspiration in the research of the environmental scientist Richard Fenske, who developed a safety-training demonstration using fluorescent tracer dyes and UV light to show farm workers who work with pesticides, pictures of their exposures despite protective gear...With support from Dr. Fenske's colleagues, I learned this technique, not necessarily for its usefulness to instruct but because of how unposed subjects seen under another visual spectrum appear theatrical, distilling a personal and collective story."

2.02.2010

LACEY TERRELL: The Passing Ring

Photograph (c) Lacey Terrell /All Rights Reserved

Photograph (c) Lacey Terrell /All Rights Reserved

Photograph (c) Lacey Terrell /All Rights Reserved

Photograph (c) Lacey Terrell /All Rights Reserved

The Passing Ring is a portrait of one of the last nomadic tribes in America, the Culpepper & Merriweather Great Combined Circus. A traditional one-ring Big Top show, with winter quarters in Hugo, Oklahoma, C&M travels everyday, for 8 months of the year. Over the past 13 years, Lacey Terrell has had the good fortune to photograph the show through much of California, Montana, Iowa, Colorado, Oklahoma, Texas, New Mexico, Minnesota and Arizona. read more...

February 4th, the first exhibit of this work will be featured in a 3 person show, Photography: Three Worlds, also featuring the work of Andrew Buck and Phil Stern,
at the Flinn Gallery, Greenwich, CT.