Opening Reception & Book Signing: December 7 | 5 – 8 PM
“This survey exhibition presents a cross-section of Josephson’s two-and-a-quarter inch negative works, beginning in the late 1950s up to the 2010s. Though the photographs themselves originate from the various series in Josephson’s oeuvre—most notably Marks and Evidence, Images within Images, and History of Photography—they are united not only in format but often in theme and character, and as a whole, are self-reflexive, experimental, and highly conceptual, the hallmarks of Josephson’s playfully intelligent photography.”
Stephen Daiter Gallery
230 W. Superior St.
Opening Reception: December 1 | 5 -7 PM
Artist Talk: December 13 | 7 PM
“Larry Chait’s Noir series represents a synthesis of his love of film noir and of Georges Seurat’s black conté crayon drawings from the mid-1880s. For Katsy Johnson’s series Pretty Dark Things, she has developed a multimedia process of hand coloring her photographs and uses layers of acrylic to conjure up bucolic scenes that have the effect of looking like vintage reverse glass paintings. ”
1310-1/2B Chicago Ave.
Opening Reception: December 7 | 6 – 9 PM | RSVP
Artist Talk: December 15 | 2:30 PM
“In this collaborative two-person exhibition, Keihm and Mauser use photography, painting, collage, and installation to construct abstract disoriented spaces – making marks by removal and absence. The mechanical aspect of film photography by Keihm and exerted muscle memory embedded within painting by Mauser describe similar desires for control yet strategically leave openings in their process for unpredictability. These gaps become spaces for the viewer to inhabit. Physical cuts into material prioritize viewers’ engagement in perception so as to frame the act of looking as the subject. ”
1821 W. Hubbard St.
“Russian based competition for young talent, the 67 Award Winning images in 4 categories by photojournalist from 14 countries, including the winning images by Justin Sullivan from South Africa. On show at the Chavonnes Battery Museum about the history of Cape Town until Feb 2019. World-class experience opposite Robben Island ferry.”
Chavonnes Battery Museum
the Nedbank building at the Clock Tower precinct, V&A Waterfront, Cape Town, SA
Artist Reception and Official Launch , Friday 1 February 2019, 6.00pm to 8.00pm. Free, all welcome.
“For over thirty years, Helen Sear has been making artworks about how humans experience landscape and nature. Prospect Refuge Hazard is titled after Jay Appleton’s influential theories on our deep-seated responses to the dangers of the natural environment, and why we find certain environments ‘beautiful’.”
Impressions Gallery, Centenary Square, Bradford, BD1 1SD
Project Statement: “I don’t want to see the world today, I don’t want to meet the world today…” she said. She looked desperate and lonely, and she continued repeating: “I don’t want to see the world today, I don’t want to talk to anyone, I don’t want to meet anyone, I don’t want to face the world today…” I didn’t know how to respond, it seemed so strange to me until years later I’ve had the similar experience. I didn’t want to face the world, I didn’t have the strength to face it, – and all I could do was to hide, hide from the world, hide from people, hide from myself…
This project is about hiding and escaping, escaping from the world, daily duties and oneself, escaping from the daylight into the night, living in one’s own world and not facing the reality. Going into the darkness to discover the light, turning back on the hustle, noise, pretense, allowing oneself to stay weak and vulnerable, rejecting the norms of success, diving deeper and deeper into the vast ocean of the unconscious, discovering oneself anew…
Cary Benbow (CB): Please talk about why you photograph and how you chose photography as a way to express yourself.
Marianna Glynska (MG): My path to becoming a photographer wasn’t so straightforward or clear-cut. I tried many things to express myself. It wasn’t until I took a photo class and felt as if something woke up in me, and my inner voice told me ‘this was it’, this was what I needed. Ever since, art and photography have become an important and integral part of my life.
In my photography, I am mostly interested in reflecting on the things that aren’t so clearly visible on the surface. For me, it’s more about reflecting on the mental state, talking about the concepts of love, loneliness, sadness, melancholy. I want to show the rich and turbulent world that exists in our mind, the intersection of consciousness, subconsciousness, and unconsciousness. I am interested in human behavior, and through my photography I am studying the hidden driving forces of such behavior, and my personal experience of the world. I wish to explore subjectivity versus objectivity and the ways by which subjective experience is carried over onto the surrounding environment.
For me, every human being is like an interesting book worth reading, each human being is unique and complex, and yet there are certain things and common experiences that unite us all.
To photograph is to discover, to learn, to make mistakes; to be curious, to experience, to love, to fear, to hate, to adore, to get amazed and get disappointed, to feel and to live, while sharing my experience with others.
CB: Can you please explain the idea behind your night images submitted to this issue?
MG: I tend to concentrate on exploring “the night of the soul,” the darker colors of the night which are inseparable from the daylight; night is a mystery for me, the source of great imagination. I never view dark colors as depressing ones or in negative sense, for me it’s more about perplexity, something that triggers enigmatic hidden feelings.
The idea of the project was born a long time ago when I was living and studying in the US. And I clearly remember one particular day. My roommate stood up, suddenly looked at me and said: “Marianna, I don’t want to see the world today, I don’t want to meet the world today.” And she kept repeating it. Some time later, when I was living with a different roommate, I shot a series of photos without a specific concept in mind; an unconscious direction that I couldn’t clearly describe. I put all those photos aside, and worked on other projects. Then some years passed by, I moved back to Ukraine, struggled with starting everything anew and with very vague ideas about the future. And one day, I woke up, tired of everything, with so many things to do and no slightest desire to do them, and then the voice appeared in my head: “I don’t want to see the world today, I don’t want to meet the world today.” And so, I didn’t. I stayed at home, on my own, I had an inexplicable need to escape from all the routine, from the outside world, – I was too tired of it and I was scared to lose myself there. I needed to escape from the outer world to be reborn, I needed to hide in order to find myself anew, I needed that time to distinguish between who I really was and who I was expected to be, and it was the time when I allowed myself to be vulnerable, when I realized I didn’t have to be strong all the time, when I clearly realized that there was nothing bad in being vulnerable, in being weak, and it was the only road to finding one’s true self over and over again.
CB: What do you feel makes a good photograph?
MG: In my opinion, a good photograph is a sincere one; a good photograph is the one that could touch people by either triggering some emotions in them or making them think about certain issues, or simply reminding of the importance of all small things in life, all the experiences.
CB: So how do decide when you’ve been successful with an image or project?
MG: For me the project is successful when I feel it’s complete, when I felt and lived it, and when I sense that the time has come to move to another project.
CB: We spoke about why you chose photography as a medium, but what compels you to make images?
MG: My main inspiration is life itself and people. For me to photograph is to explore the world and human beings in it, to watch, to ask questions, to find and to lose, not to have answers but trying to understand. Of course, it’s all very subjective, but each of us sees the world with his/her own eyes, and yet there are certain things, certain experiences that are understood by all human beings.
And the night inspires me, especially walking late in the evening under the moon, when you suddenly start seeing usual and common things differently, when you have the vast room for imagination, when the rush of the routine is behind, and you have the time to speak to your inner voice, to listen to the wind, the waves of the river and try to guess what they are trying to ‘tell’ you.
CB: These images remind me of work by Japanese photographer Daido Moriyama – both in technique and subject matter. Was his work an inspiration for your series?
MG: I love the works by Daido Moriyama, I wouldn’t say that his works directly influenced me. If talking about Japanese photographers, the works by Eikoh Hosoe had a greater impact on my art. Even though the works by both these artists are somehow interrelated, I think Eikoh Hosoe’s photographs are more of a stage-like character, and I gravitate more towards staged photography as well (but, of course, not all my projects are like that). David Lynch has a great impact on my works, even though he works in a different medium, the way he depicts things, the questions he asks, and the topics he works with are very close to what I am exploring in my art.
Among other photographers who influenced me are Diane Arbus, Franceska Woodman, Jeff Wall, and Gregory Crewdson..
CB: Who are the people that appear in your photographs?
MG: People in my photographs are mostly my friends, good acquaintances, people I’ve met during different stages of my life. More often than not, I am not as much interested in simply making a portrait of the person but more in depicting something I have in my mind, or something that I can’t explain but just intuitively see and feel.
CB: Do they have significance beyond the role of a “Figure” in your scenes?
MG: For me, all these people are like actors/actresses, and the process of making a photograph is like a process of directing the film. And even though I mostly tell them what to do, try to create certain mood, certain atmosphere, it’s not very rigid and super controlled, there’s a lot of room for freedom of expression and improvisation. In my works, I try to appeal to those hidden forces that are present within each personality but can be often invisible on the surface, – I simply try to bring those forces out. Every process is unalike, and yes, each person has a great significance in the scene.
CB: Let’s talk more about the idea from your project statement of ‘hiding’ and not wanting to face the world.
MG: To expand on what I mentioned earlier, hiding and not wanting to face the world is like going through a little crisis, when there’s a feeling that you can’t do things that are demanded from you any more. And I think it’s important to make pauses from time to time and ask yourself: “Why is it happening? Why do I want to hide from everything?” And in my opinion, it’s important not to ignore or deny such things, but rather stop and use this time for oneself. There’s nothing wrong with embracing the loneliness and having important conversation with oneself. Escaping from the outside world for some time means embracing one’s inner self, listening to one’s inner voice and being able to hear it. It’s about taking the time off for yourself and then coming back and walking on the path that you choose for yourself rather than the path that someone else would choose for you. I believe we even need such small crises in order not to lose track of who we really are and what’s really important to us. Hiding from the world for a while can be transformative and beneficial to personal and spiritual growth.
F-Stop Magazine: Tell us a bit about your background as a Photographer.
Sounak Das: The inspiration of assembling pictures comes from my father who was a theatre artist. His plays were always captured which he narrated to me through photographs. I can recall my first play when I was 5 months old by looking at those photographs. The camera was always a part of my family. The urge to perceive knowledge of photography was somehow subconsciously inside me when I dropped out of my engineering degree to pursue photography in 2012. Since, it has been a journey I cherish with the camera.
My interest in science and technology introduced me to multimedia. Besides photography I started to experiment with moving images to challenge my versatility. To practice my expertise, I started working at Bengal Foundation Arts Program in 2016.
F-Stop: The current issue of F-Stop Magazine features your project “Wire Formation,” can you tell us about this project?
SD: The idea of this project was initiated in early 2018 during the semester of “Personal Project.” I was introduced to a question “what would I photograph to archive my reality? ”, which compelled me to this particular series of images. I decided to look into the wires, poles and entanglement and this disorganized structures which seems alike to the human psyche. The city I live in offers me no peace than the night it crawls on. The photographs are a representation of socio-political juxtaposition I grew up with.
F-Stop: How did these wire formations come to be?
SD: These electrical structures and masses of wires are part of the current metropolitan society; a clear representation of industrial revolution in Dhaka, Bangladesh. I think the design of power distribution was never a headache as the independence was fought for the mother tongue. People moved in to the capital and electricity was distributed coherently. Telephone wires, tv channel cables, internet cables spread across mass population. Over time the structures and wires evolved into these abstraction, unconsciously curated by the city(effect of nature) and the people. Each area maintain a certain standard of living. The electricians and engineers also play a significant role. They continuously install and design wires after wires with consumer demand.
F-Stop: What is your process for making these images or your creative process more generally?
SD: I enjoy silence and the silence calls me out every night. Usually I carry 3 light sources and a 70-200mm lens. Adjusting from 150-200mm focal length I attain my perspective with different distances. I meander and observe my reality, straight and direct confronting the surreal abstraction. I intend to ignore the exformation of visuals and focus on the minimal representations, producing 4*5 black and white images.
F-Stop: Can you say more about what you mean by “exformation”?
SD: By exformation i mean to say information explosion (overload of information). eg. every day our eyes confront so much of the reality, but how much do we remember? What we remember is information and the rest is exformation.
F-Stop: Are you working on any other projects currently?
SD: Yes I am. The project is an attempt to explore the sentience of the non-visual. As an exchange of dialogue, the photographs are the philosophy of thoughts and reality connected to their memory and emotion.
F-Stop: Do you have a name for this project yet?
SD: I have not yet decided the name for my ongoing project. I am still not finished with it. I want to present the work in the form of a book. The approach, idea and technique differs for each of my protagonist/Friend. A series of monologues and their emotional and mental statements all build up the series of photographs as an attempt to imagine the visuals of a non-visual. I look at objects to find emotion as Baruch Spinoza intended to consider human emotions “as if the surfaces of lines, planes or solids”.
F-Stop: What photographers or other artists inspire you?
SD: I am mostly inspired and motivated by Minimal, Bauhaus and Surreal art – Man Ray, Mark Rothko, Wassily Kandinsky, Salvador Dali, Vladimir Kush and many more to name. Photographers like Fazal Sheikh, Stephen shore, Josef Koudelka and Trent Parke also energizes me.
“These images have been in the making for over 50 years, representing a posthumous collaboration with my father and an investigation of the materiality and impermanence of the photographic medium. The negatives have been subjected to fluctuations in temperature and moisture barely clinging to the base of the film. The images were made during the early Mad Men era to entice consumerism at the beginning of what is now being referred to as the Anthropocene. The objects photographed are more than likely absorbed into the new geologic strata in landfills scattered around the country. ….”
3015 Ocean Park Boulevard
Santa Monica, California 90405
opening in the presence of the artist Thursday 29 November from 6 to 8 pm
“MIA OPA [mia ora] is the Greek word for ‘hour’. I discovered the title in a box I was given in Ioannina by my friend who develops my films. ‘Hour’, however, has a more complex meaning; in a crisis, people tend to comfort each other by saying, “One hour at a time”. Take it one hour at a time – even just one breath at a time.
Greece is in a deep financial crisis. The country is experiencing vast changes, and young Greeks have been left dealing with the aftermath of years of defective politics. Many are moving out of the country, whereas older Greeks who have lived abroad are now returning to help their country get back on its feet. The discontent with politicians has made people restless, particularly in Exarcheia, Athens, where leftist groups are setting up their own state within state. One hour at a time, the country is trying to pick up the pieces.
MIA OPA represents the love I feel for my people, my home. It also tries to remind the Greek government of the enormous number of young people in the country, waiting for their chance to make a difference. While the crisis has started to change course, youth unemployment, in particular, is rising. This great discontentment creates enormous energy and a feeling like an exposed nerve. Almost as if worrying about stepping on a landmine and having everything blow up.”
Photographic Centre Peri
Itäinen Rantakatu 38
20810 Turku, Finland
“Rhondal McKinney’s photographs transport the viewer within the vast and quiet landscape of rural Illinois, reminding them of the importance of stillness, time and memory. The artist affirms, “When I was a kid I used to ride around in my father’s pickup truck. He was a bird hunter and a fisherman and we might be on our way to run his nets in the river or driving around looking for quail or pheasant. Usually I didn’t know where we were headed. While we drove around my father chewed tobacco. If a quail ran across the road Dad would pull over, hold his hand against his chest as if to hold back a necktie and spit tobacco juice at the spot where the bird disappeared into the fencerow. The cab of that truck had been so dusty for so long that the dust clung to the dash, the visors, the floor– everywhere–like hide. Pop bottles banged together under the seat. As we drove along gravel roads past fields of clover and alfalfa, corn and wheat, past orchards and pastures and hardwood groves my father’s eyes moved constantly over the landscape. He had a thirst for the look of it. I remember wondering what it was that he was always looking at. Eventually I learned to see what he saw, to love what he loved”.”
Joseph Bellows Gallery
7661 Girard Avenue, La Jolla, CA 92037