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Lies @ The Colorado Photographic Arts Center

Karin Kempe, Uphill

Lies
through October 6, 2018

Opening reception on August 31

A juried exhibition that explores the art of deception through the lenses of ten contemporary photographers
Exhibiting Artists:
Alpert + Kahn (Colorado), Michael Borowski (Virginia), Annette Burke (California), Thomas Carr (Colorado), Mark Dolce (Colorado), Shelli Foth (Colorado), Karin Kempe (Colorado), Meghan Kirkwood (Minnesota), Andy Mattern (Oklahoma), and Paul Stein (Colorado).

The Colorado Photographic Arts Center
1070 Bannock Street, Denver, 80204


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Heather Oelklaus @ the Art Lab


Heather Oelklaus O.P.P.
August 3 – August 30, 2018

Reception Friday, August 3rd from 6:00 – 9:00 pm

Art Lab, 239 Linden Street, in Old Town Fort Collins, CO.


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2018 Annual Juried Exhibition @ Baxter Street at CCNY

image: Jenna Westra

2018 Annual Juried Exhibition
August 16 – September 8, 2018

Opening Reception & Slideshow: August 16, 2018

Juried by Matthew Leifheit featuring Dannielle Bowman, Sacha Vega, and Jenna Westra

opening reception on August 16th with a screening in the backyard of work by the 15 Honorable Mentions: Ken Castaneda, Rose Cromwell, Christian DeFonte, Paloma Dooley, Angal Field, Andrew Gowen, Ian Kline & David Billet, Ian Lewandowski, Amiko Li, Sam Light, Jackie Mak, Molly Matalon, Tammy Mercure, Justin Schmitz, and Jay Seawell.

Baxter Street at CCNY


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Tim Richmond @ Francesca Maffeo Gallery

Bristol Channel #41, Somerset

Tim Richmond ‘Love Bites’
22nd September – 20th October 2018

“Richmond is known for his wanderings and with this body of work he wanders into damp seaside towns and muddy esuaries, encountering a particular cast of transvestites, homeless, Latvian pole dancers; the overlooked fringes residing in a small, distinct region along the Bristol Channel. The high-octane life of mainstream England races past this unheralded cast by choice, or for socio-economic reasons. There is uncertainty about what has led to this and what might come next. ‘Love Bites’ captures a certain authentic reality and has ties with the notion of a “Broken Britain”, yet it remains a document filled with hopes and dreams. ”

Francesca Maffeo Gallery
284 Leigh Rd, Southend-on-Sea, Leigh-on-Sea SS9 1BW, UK


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MANFRED BAUMANN @ LEICA STORE & GALLERY LOS ANGELES


MANFRED BAUMANN: MUSTANGS
August 9 – September 14, 2018

Artist Reception Thursday, August 9, 2018 | 6PM – 9PM. RSVP required

“For photographer Manfred Baumann, the fascination of photography lies in departing from the familiar and capturing an impression of the moment. He loves to explore the world through the eyes of a photographer. For more than 20 years, he has sought out the most distant places in the world, where his breathtaking landscape photographs are created. Since 2013, he has been a photographer for National Geographic.”

LEICA STORE & GALLERY LOS ANGELES
8783 Beverly Blvd
West Hollywood, CA 90048


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IN THE STILL OF THE NIGHT @ FOTOHOF

hlam Shibli, untitled (Occupation no. 1),
al-Khalil/Hebron, Palestine, 2016−17, chromogenic print, 100×150 cm.
Islamic cemetery, al-Shuhada Street, Hay al-Yahud/Avraham Avinu settlement, Old Town, northern part of the city, al-Khalil, December 25, 2016. View from al-Rahma hill. Jews have free access to al-Shuhada Street; Palestinian access is limited to residents who are registered by the Israel Defense Forces (IDF) at the checkpoint, but only on foot. They have to renew their registration every year. All Palestinian shops in al-Shuhada Street and in Hay al-Yahud/Avraham Avinu settlement are closed by Israeli military order. Most of the Palestinian houses are deserted due to constant harassment by the IDF and settlers. Courtesy of the artist, © Ahlam Shibli

IN THE STILL OF THE NIGHT
Edmund Clark, Göran Gnaudschun and Anne Heinlein, Jelena Jureša, Hrair Sarkissian, Ahlam Shibli
August 10 – September 29, 2018

Opening: August 9, 20:00

“The exhibition IN THE STILL OF THE NIGHT gathered five artistic positions that discuss political crises and conflicts as a long-term and complex phenomena. The penetration of political interests in private living spaces, the relationship between power and the individual, it becomes a connecting element of a discourse on the complexity of the reality that surrounds us. Beyond the presentation of photographic highlights is the before and after, taking the crisis as a permanent phenomenon into view. ”

FOTOHOF / Inge-Morath-Platz 1 -3 / 5020 Salzburg / Austria


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#metoo @ Perspective Gallery

© Michelle Rogers Pritzl

#metoo
August 2 – 26, 2018

Opening Reception: August 4 | 5 – 7 PM
Artist Talk & Performance: August 9

“he #metoo movement has dominated much of the news this past year. While an increasing number of survivor stories have surfaced, the actual number of people affected has been difficult to quantify. In January of 2018, the National Study on Sexual Harassment conducted an extensive study in which they found 81% of women and 43% of men said they had experienced some form of sexual harassment or assault in their lifetime. Those numbers are staggering.

Featured artists include Michelle Rogers Pritzl, Stephanie Taiber, Kaushik Sunder Rajan, Lydia Panas, Jennifer Greenburg, Miriam Peterson Elde, and Whitney Brashaw. The exhibition also includes Open Call, a video including image and text from photographers around the country and In Your Words, a post-it wall on which the public will be invited to share their thoughts.”

Perspective Gallery
1310-1/2B Chicago Ave.
Evanston, IL


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Lodoe Laura @ Filter Photo


Lodoe Laura: 163
August 3 – September 15 2018

Closing Reception: September 7 | 6 – 9 PM
Artist Talk: September 7 | 7 PM

“In the last ten years, 163 people have self-immolated in protest of the conditions inside the Tibetan Autonomous Region in China. Working with the archives of Tibetan activists and advocacy groups, Laura conducted research into the troubling trending practice of self-immolation in the Tibetan community and collected photographs of the self-immolated. These images, usually recovered by activists as low-resolution cell phone images, function as testimony of an act of resistance, and as a critique of the Chinese government’s account of life inside Tibet. Each portrait was printed by hand using handmade charcoal ink. Laura collected charcoal incense, used in Tibetan Buddhist smoke offering rituals, from the Diaspora community following their prayers. The ritual charcoal was ground, sifted, dried, and mixed by hand with traditional ink making mediums, then hand printed onto paper; a labor-intensive process that took several months to complete.”

Filter Photo
1821 W. Hubbard St.
Suite 207
Chicago, IL


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Interview with photographer Helen Jones

Butte, from Mining the Past

Cary Benbow (CB): Beyond the project statement you have on your website, would you please expand on the ideas behind ‘Mining the Past’, which is included in this month’s issue, and give an idea of how it relates to your larger body of work?

Helen Jones (HJ): ‘Mining the past’ is a project that came from a residency I did at the Imagine Butte Resource Center this past fall. I’d stopped briefly in Butte a couple times and was attracted to the aesthetic there. I‘d also toured through the Phoenix building, and knew I really wanted to photograph it more before it was cleaned up. In the project I tied together the artifacts I found in the Phoenix building with the land and history of land use in the area. I didn’t have to dig much; history is everywhere in Butte, and the Phoenix is filled with ephemera from decades past. I found old maps of the neighboring mining town of Anaconda, which led me to go photograph there. I sorted through the office of Ray Schilling, a partial owner of the building, and later found a letterpress plate of his portrait. I saw an exhibit about labor organizing in Butte that led me to search for Frank Little’s gravesite. The series is a resulting web of discoveries found during my time there.

Much of my larger body of work looks at places as palimpsests providing clues to the past, but its usually on a much smaller and more personal scale than this project.

Being mean & cruel, from Mining the Past

Door peak, from Mining the Past

Deer, from Mining the Past

CB: In the broad sense, why do you photograph? What compels you to make the images you create?

HJ: It’s hard to say why I photograph. I often just feel like I have to – something looks too perfect and I feel it must be recorded. It could be the light, or an odd juxtaposition, or a beautiful landscape. Much of what I photograph is place-centric. I’m interested in the way people interact with spaces, both on a personal domestic level, and in a larger sense.  

I started with photography when I was pretty young. My uncle is a photographer, so I was lucky to be exposed to it all my life. He always had a camera with him and we had a lot of his prints in my home. There is also an amazing youth photo program in my hometown of Brattleboro, Vermont called the In-Sight Photography Project, which provides classes to youth regardless of ability to pay. I took a lot of photo classes in high school, and had access to a darkroom both in school and outside of school. I felt like photography was a really good fit for me, and allowed me to record things around me; but it also spurred me to hunt for new places to photograph.

Snow tunnel, from Mining the Past

The pit, from Mining the Past

Slag pile, from Mining the Past

CB: There are elements of nature, wildlife, landscape, man’s inclusion/interaction with nature in your work – can you comment on why you choose to depict these elements in the way you do?

HJ: The land we live on shapes our lives in many ways but I think we can often lose sight of that, especially in cities. I am definitely drawn to scenes that highlight those connections. In Butte the town is built on the search for precious minerals; it is actually sitting atop mining tunnels, and was created with money from those endeavors. I guess I searched for scenes that would show how intertwined these things were.

CB: You also publish photo books with your work at Pine Island Press. Please talk about the role of a photographer as “publisher” and what you think about the recent increased push for photographers to publish photo books, or what led you to pursue publishing the work of others at a small press?

HJ: I love photo books. I have a growing collection and appreciate that such publications allow me to have a body of work from photographers I admire. Working in publications allows you to control the sequence and narrative of your work in a unique way. It is also cheaper and more accessible than collecting prints. That said there is something special and social about having a show, as an event, and going to a certain place to see a show you are interested in — I wouldn’t want to forsake that.

Pine Island Press was started at a picnic table one sunny afternoon in Portland. A few friends and I were talking about how expensive submission fees to shows were, and how we wanted to be more involved with the photographic community. We decided to make a zine and hoped to be able to create a new venue for folks to share their work free of charge. None of us knew much about publishing when we started the project; it led to a lot of new learning. Running Incandescent has also exposed me to a lot of new amazing photographers. I am seeing new work all the time, which is really inspiring.

Family photos, from Mining the Past

Dinner proposal, from Mining the Past

Cyndie, from Mining the Past

CB: Do you keep a journal? do you keep notes or write about the places and people you see? If so, would you share a passage from a particularly meaningful entry?

HJ: I keep a journal of sorts. It is mostly filled with to do lists, place names, some notes on things I want to remember, or quotes I like.  Some things I have jotted down on recent travels:

Between the dog and the wolf (dusk)

‘Arrange whatever pieces may come your way’ Virginia Woolf

‘The sand and the bareness’ (description of the land around Butte, from Mary MacLane’s I Await the Devil’s Coming

Witches hole, Haven, Never Sink, Stony Kill, wild and wonderful Lewisburg, Lawrenceburg, Lookout. Soda straws and cave bacon. Getting soft on hotel waffles. The birthplace of country, Hungry Mother, Dry Fork, Greasy Ridge, Dripping Lick Creek, Dark Hollow Falls, Dismal Hollow Road, Dark Horse Lane, Wiseman Branch.

Missing wall, from Mining the Past

CB: What work are you currently working on? Any new projects?

HJ: I’ve been photographing a farmer friend, Pony, and his adventures setting up a sheep farm in southern Oregon. Pony’s story also deals with land use and connection between humans and the land, as well as ideas of rural living, remoteness and community, food and meat production, and the idea of finding a permanent place. I hope to continue working on that project, as well as some work that’s a little closer to home.

Pony’s ponies, from Looking for Land

Plastic roof, from Looking for Land

 


To see more of ‘Mining the Past’ and other projects by Helen Jones, please visit her website at helenjonesphotography.com. Helen Jones graduated from Massachusetts College of Art with a BFA in Photography. Post college she returned to her hometown of Brattleboro, Vermont where she assisted with Through the Music, an eclectic gallery, featuring emerging artists, and co-taught at In-Sight Photography Project, a non-profit that provides photo classes to youth regardless of their ability to pay. Helen now lives in Portland, Oregon. Where she runs Pine Island Press, an extra small press that specializes in publishing photography and art zines. Incandescent, PIP’s primary publication, is a bi-annual international color film zine showcasing emerging photographers. Helen can be found on instagram at @helenjonesphotographs.


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Book Review: American Fair by Pamela Littky

Del Mar, California

It is easy to visually recall projects and work by photographers who document places or people outside the comfort zone of most people; photos of people who some would consider to be in the margins of society. In general, it is hardly new or unique to photograph people who live interesting lives apart from mainstream society, yet Littky’s project American Fair is fresh and interesting. Her approach to capturing the essence of a contemporary fair in America hits all the right notes. She captures the various events, components, and pageantry of this celebration of community, while keeping the idea of commonality in the forefront. While each fair does not represent the melting pot that America might like to claim as its bedrock, the viewer can hopefully identify with the themes of life which play out at each event. Excitement, hard work, competition, success or failure, and even heartbreak can play out over the course of the fair schedule.

Jackson, Mississippi

Gordon, Nebraska

Littky has a gift of capturing the still, poignant moments amidst the frantic scene of the midway. Likewise, she shows the viewer insightful slices of the fair experience in a knowing glance from a tired worker, the humorous contrast between young women dressed to the nines in a sheep barn, or the soft glow of lights from a snack stand theatrically illuminating the heavily trodden dirt surrounding it.

Dodge City, Kansas

Jackson, Mississippi

In my own city, the fairgrounds are far from the center of town; toward the margins, if you will. The annual county fair draws people from all aspects of the community to a single place. The photos Littky captured at the edge of the fairgrounds make a great metaphor for the physical and social way the fair highlights the sense of the separate-ness, while striking a balance with her approach of communal society. The attraction of the lights and sounds draw people from where they normally live, into a reality-based theatrical world. As she puts it in her book, “these fairs continue to draw people from all backgrounds and upbringings. They celebrate the heartland. They celebrate diversity. They celebrate community. And by doing so, they showcase the power and meaning of some of the most unifying and nostalgic ideals of our American culture and society.”

Indianapolis, Indiana

Sedalia, Missouri

Cimarron, Kansas

During this period when America seems to dwell more on what divides the nation than what binds it, Littky sought to use her skill as a photographer to embrace the common traditions that are still going strong and that connect us on the most basic human level.


 

American Fair
ISBN 978-3-86828-820-9
Hardcover
9.5″ x 11.8″
160 pages
103 illustrations


Los Angeles based photographer Pamela Littky has been producing award-winning, iconic images of high profile personalities for over fifteen years. Her portraits capture well-known subjects in seemingly unguarded moments. In between shoots of world-famous actors and musicians for top commercial and editorial clients, Littky pursues personal projects that show a decidedly less glamorous but equally compelling side of American culture. Her work is held in private collections and has been exhibited in galleries across the world.

To read more about Pamela Littky, and see more of her work, please visit her website: http://pamelalittky.com/

To order a copy of American Fair, please visit Kehrer Verlag’s website here: https://www.kehrerverlag.com/en/pamela-littky-american-fair

You can also see Littky’s work in the exihibition US BLUES July 14 — September 8, 2018 at Kehrer Galerie, Germany


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