“McLaughlin’s work in this series focuses in on how the history of photography has been regarded as a predominately white male timeline. Throughout this history, a record of marginalized artists have been overwritten or eliminated. Women in particular were disregarded, while mainstream photographers such as Ansel Adams, Edward and Brett Weston, soared to recognition. McLaughlin’s work looks to recuperate and pay homage to the icons of the medium’s past, but with a female persona, rewriting these tropes in history.”
Artist Image Resource (AIR)
518 Foreland Street | Pittsburgh, PA
Based on the main exhibition that gathers 37 European photographers, Little Circulation(s) is back in 2019, still dedicated to children, and with an educational programme and activities thought out for the youth.
“” Within the festival, the photographers’ words and acts are at the core of the discourse. They point to the path to follow, what tangibly surfaces. This effort for horizontality and auto-organisation protects the festival from any risk of authoritarian diversion. In the context of a will to generally transform society, the institutional functioning of art and photography is not anecdotal. At the heart of the organisation of the festival, the rejection of authority states the removal of a distinction between “thinkers” and passive “doers”, calls for and supports everyone’s initiatives, from technicians to volunteers. The participants’ autonomy, supported by collective principles, values and perhaps ideals, contrasts sharply with the way many festivals are run. Against the neo-liberal or bureaucratic limitations that have been imposed in the field of culture, there stands the collective ability to imagine, the rejection of competitiveness and domination within this modest experience.[…]”
5 rue Curial
Opening Reception: Wednesday, April 17, 2019 | 6:30-8:30 pm
“There has been a surge of artworks, books, and articles about motherhood over the past few years. To paraphrase a recent Paris Review article by Lauren Elkin, motherhood is finally being taken seriously in wider arts and a canon of motherhood is beginning to take shape. The subject of motherhood is urgent in the current political climate where there is a need to guarantee women control over their bodies. Women have begun to speak more candidly about health issues and biological processes that have in the past been cloaked in secrecy. Recent news articles have revealed bias against pregnant women and mothers in the workplace, and in spring 2018 the United States stunned the world when it declined to back a seemingly uncontroversial resolution to support breastfeeding in underdeveloped countries. For much of art history the subject of mothers were represented by men. Earlier generations of female artists often chose a career over motherhood or steered clear of explicitly addressing motherhood in their work because it was dismissed.”
Baxter St at the Camera Club of New York · 126 Baxter Street · New York, NY 10013 · USA
Opening Reception: Wednesday, April 17, 2019 | 6:30-8:30 pm
“The absence of mandated paid maternity leave causes women’s return to work soon after giving birth, making pumping pervasive in America. The American Academy of Pediatrics recommends that infants feed exclusively on breast milk for the first six months after birth. Women must pump milk every few hours in order to continue to produce milk. Although The Affordable Care Act requires some employers to provide lactation rooms, only 40% of women have access to dedicated pumping spaces. Moreover, lacking secure, dedicated spaces, women pump in cars, bathrooms, utility closets, etc. Bodily expectations at work are at odds with the practicalities of lactating women, thus the production of a gendered and secluded space where the maternal body is banished. Pumping is sometimes considered liberating because it allows women to have more autonomy and participate in the workplace, but it also erases the intimacy of breastfeeding and bodily contact. Lactation rooms are an inadequate substitute for maternity leave.”
Baxter St at the Camera Club of New York
126 Baxter Street · New York, NY 10013 · USA
Opening Saturday, 20 April 2019, 17.00-19.00
Since 1989 Chilikov has been working on a travel series about cities in the Soviet Union. His series, entitled ‘Photo Provocations’, ‘The Countryside Glam’, ‘The Beach’, ‘The Gambling’, ‘The Philosophy of a Journey’ and others, depict the hidden eroticism of people of the countryside that appears even more vital when it contrasts with depressing surroundings.
Peter Martensstraat 121
1087 NA Amsterdam
“Stories from the North aims to tell stories from a region we don’t hear much about, a region that is often underlooked, both here and in Ghana. Obvious issues are not prevalent in Northern Ghana, at least not in a way that is relevant to international media. That is precisely why this project opts for this region: to share the richness, diversity and energy of this area with everyone, through stories from the North. These stories are all connected to the SDG’s gender, migration and climate change, and told through the lens of five Ghanaian photographers: Evans Ahorsu, Mabel Senaa Bonsuuri, Geoffrey Buta, Nyamekye Joey and Qujo Buta.”
Noorderlicht | House of Photography at iMPACT DOC Amsterdam.
1015 CZ Amsterdam | NL
The coffee-table quality book Striking Balance by Dinesh Boaz contains striking, saturated, color images of our world as seen from above. Boaz creates these aerial images in beautiful places around the globe: Hawaii, California, Arizona, Utah, Greece, Sri Lanka, New York City, and Florida.
Photographs from Striking Balance have been featured in Conde Nast online, and shown in scenes of a glam NYC apartment make-over in Martha Stewart online. The visual impact of Boaz’s photos lend themselves easily to decorating with large colorful photographs that add vibrant visual punch, or to serve as an escape to imagine oneself hovering above a Hawaiian beach. Boaz’s book introduction catchline of “Manifestations of the power of water, wind and time” even feels epic.
While doing some research to learn more about the book and the photographer, I read a feature on Boaz’s work. According to a certain camera manufacturer website, which states he is a compensated professional photographer for them, Boaz makes comments about his creative process. I feel I was better off not knowing some of the lucky happenstance events that came about to create these images. The process involved simply trying a couple different settings on the camera, or deciding to ‘slow down’ instead of selecting burst mode for capturing the images on a certain trip. The decision to turn around and ‘get lucky’ with a shot behind the helicopter was especially notable. The un-pedantic process and verbose self-centered accolades detracted from my initial reaction of genuine interest and liking the book. I guess I’d rather not know how the sausage is made; I’ll just enjoy the snack.
All in all, I can’t deny the impact these images make. The photographs of beaches, mountains, and even tennis courts at night lend us a viewpoint many of us will never have in person. I can appreciate his images of patterns and rhythms made apparent from an aerial view. I imagine it is thrilling to lean out of an open cockpit to capture scenes such as these. So perhaps it is best to read Boaz’s own words, as he describes his project in this way: “The feeling of the works I have shot between 2016 – 2018 is to show that people, water, rocks, and metal elements can work together when viewed from above. The photos sometimes show chaos and disruption, while some show serenity and bliss – in the end, no matter what the subject portrayed – there is a unifying beauty in shapes, emotion, and stillness. The balance of these diametric forces is what is to be experienced when viewing the works.”
Striking Balance by Dinesh Boaz
Designed by Adam Osadon, printed by Edition One Printing
Hardcover, 78 pages
Limited 1st edition (2018)
To learn more about Striking Balance or see more images by Dinesh Boaz, visit his website. All images shown are © Dinesh Boaz
“Taking its title from Yemchuk’s ongoing photo series of the same name, Mabel, Betty & Bette is an exhibition exploring the often-elusive nature of identity. The artist focuses particularly on moments of change, crisis and loss of self, as embodied by an expanding cast of over 40 women photographed in a variety of international settings. Each photograph portrays one of the three fictional women— Mabel, Betty and Bette—often portrayed by notable fashion models wearing one of three corresponding wigs and acting out different storylines written by the artist. In constructing and capturing the amnesiac moment when the dreamer wakes, Yemchuk depicts the alarm and confusion that accompany the void between dreaming and waking. The female form acts as a threshold between parallel worlds and explores the female archetype as both an actual body and a symbolic place upon which projections of self and society fall. Rarely depicted as their true selves, these famous shapeshifters draw attention to the continued malleable nature of identity in the 21st century.”
In order to survive, we human beings do just about everything. We’ve even invented time – an organisational tool that is immensely useful (and secures Swiss watch makers a decent income) but also terrorises us. From Lisa Volpe, who contributed the essay “Natural Rhythms: Time in the Cumberland Plateau” to this tome, I learn that time has a different meaning in this area in east Tennessee, “nestled amid the Appalachian Mountains, some of the oldest mountains in the northern hemisphere. The sensuous, gentle curves of the ancient range stand hard and resilient against the eternal sky. This landscape of soft daylight, mature green glades, and misty mornings has a particular subtlety and rhythm that is neither hurried nor lacking.”
Although the musical tradition of the Cumberland Plateau was the catalyst for this work, Lisa Volpe identifies time “as the major theme of the series and Boillot’s treatment of it is both subtle and shrewd.” Is this a photo book about time then? Well, sure, every photograph is (also) about time but photographer Rachel Boillot expresses it very personally by, for instance, photographing Tom McCarroll with his instruments and later on in his casket with his fiddle near his hands.
I very much warmed to Rachel Boillot’s “Author’s Note” in which she describes how this book came about. “I first went to Tennessee in June of 2014. My intention was to spend two months making photographs for a park ranger. The subject matter was opaque to me, but I needed a gig. Folkorist, naturalist, and musician Bob Fulcher, who currently manages Tennessee’s Cumberland Trail State Scenic Park, was initially dismayed by my lack of knowledge regarding old-time country music. Turned out this was the focus of the job. Bob believes that preserving cultural resources is just as important as land conservation in this region, which is the more explicit prerogative of the parks system. But in Tennessee, music is ‘in the water’, as the saying goes. I had absolutely no knowledge of country music – not to mention its history and the old-time traditions that preceded contemporary country music.”
I can’t imagine a much better way to approach a photographic assignment. I’m not joking, not at all, for I believe to approach something without prior knowledge or, as the Zen Buddhists say, with a beginner’s mind, can be highly rewarding – and in the case of Rachel Boillot it indeed was. The story of her time in Tennessee and of her encounters with the folks living there are a fascinating read, not least because of her unpretentiousness.
The last section of “Moon Shine” is entitled “In their own words” and that describes aptly what it is – oral histories that Rachel Boillot gathered during the process of filming the ‘Cumberland Folklife’ series of documentary films that she co-produced with Kyle Wilkinson. These stories give a good insight into an America we rarely get to read about in the mainstream media. Many of the photos in this section (from family archives) are in black and white.
The photos (in colour) depict the landscape and people in different postures, often with eyes cast down or together with their instruments, nobody’s smiling at the camera.
by Rachel Boillot
SCOTIABANK CONTACT PHOTOGRAPHY FESTIVAL
Toronto’s celebrated month-long Festival in May engages established and emerging Canadian, American, and international artists to activate urban spaces across the city
Carrie Mae Weems will create three separate site-specific installations at outdoor venues downtown, representing the first time she has shown her work at this scale in Canada.
In addition to Weems, a selection of North American and international lens-based artists will present a diverse array of installations to activate public spaces throughout Toronto and in eight cities across Canada. The list of artists includes Susan Dobson, Peter Funch, Esther Hovers, Sanaz Mazinani, Zinnia Naqvi, Mario Pfeifer, Bianca Salvo, Sputnik Photos, Nadine Stijns, Carmen Winant, and Elizabeth Zvonar. Venues will include a subway station, storefronts, corporate lobbies, outdoor recreation areas, shipping containers, and billboards.
For more info https://scotiabankcontactphoto.com/