Illumination: an Exhibition of Fine Art Photography @ Agora Gallery

Justin Cliffe

Justin Cliffe

Illumination: an Exhibition of Fine Art Photography
Iryna Brown, Justin Cliffe and Tim Knight
November 4, 2014 – November 25, 2014.

Reception: Thursday, November 6, 2014, 6:00pm – 8:00pm

Agora Gallery
530 West 25th St, Chelsea, New York

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Sandro Miller @ Catherine Edelman Gallery

Talent: John Malkovich Shot: 2013
November 7 – January 31, 2015

Friday, November 7, 5:00 – 8:00 p.m.

Malkovich, Malkovich, Malkovich: Homage to Photographic Masters honors photographs that have impacted Sandro. Pieces include Irving Penn’s photograph of Truman Capote in a corner; Bert Stern’s photographs of Marilyn Monroe; Dorothea Lange’s image of a migrant mother; Robert Mapplethorpe’s self-portrait with a gun; Annie Leibovitz’s iconic image of John Lennon and Yoko Ono; Richard Avedon’s beekeeper, among many others.


Catherine Edelman Gallery | 300 W. Superior Street | Chicago | IL | 60654

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Group Exhibition – City @ PH21 Gallery

Group Exhibition – City
14 October – 3 November 2014

This juried international photography exhibition explores how urban spaces provide intensified experiences, how we shape our environment and how we live in the environment we create for ourselves.

PH21 Gallery
Szkéné Theatre
Budapest University of Technology and Economics
H-1111 Budapest
Műegyetem rkpt. 3.

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Four by Five @ New Orleans Photo Alliance Gallery

Danseur thailandais by Robert Dutruch

Danseur thailandais by Robert Dutruch

Four by Five
September 6 – November 23, 2014

Opening Reception: Saturday, October 4, 6 – 9pm

The exhibit features works by Drew Bedo, a legally blind photographer from Houston, TX; Robert Dutruch, from Bush, LA, with full plate collodion ambrotypes; Mark Dawson, from Camden, ME with intimate collodion-on-aluminum prints; Maria Levitsky, who recently completed her MFA at the University of New Orleans, showing 8×10 Palladium prints; and Nate Mathews from Bartlett, IL exhibiting modernist inkjet prints from 4×5 color negatives. Juror: Steve Simmons, Publisher of View Camera Magazine.

New Orleans Photo Alliance Gallery
1111 Saint Mary Street, NOLA

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Chris Anthony @ SPOT PHOTO WORKS

Search Party

Search Party

Nov 15, 2014 – Jan 12, 2015

Opening Reception: Saturday Nov 15 – 6:00 pm – 9:00 pm

Informed by the prose and imagery of Edgar Allen Poe, Anthony’s “Seas Without A Shore” includes wet plate collodion prints along with color photographs.

Spot Photo Works
6679 Sunset Blvd.
Los Angeles, CA 90038

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Eric Antoine @ Laurence Esnol Gallery

Gesa douche - 18 x 24 - Ambrotype - 2014

Gesa douche – 18 x 24 – Ambrotype – 2014

Eric Antoine
October 17th to December 20th, 2014

Éric Antoine unveils his new project, Black Mirror, which represents the continuation of his work. Through this new show, the photographer has evolved from an autobiographical stand point to a broader examination of society.

Laurence Esnol Gallery
22 rue Bonaparte, Paris

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Albert Grøndahl @ Exhibit No.9


Albert has been honored twice by prestigious Magnum Photo, and has exhibited in Jerusalem, Prague, Beijing, New York, Marseilles, Milan, Bratislava, Seoul among others. Exhibit No.9 is host to his first US solo show and Artist Talk.

Exhibit No.9
550-102 Cookman Avenue
Asbury Park, NJ 07712

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Interview with artist Kristen Kula

Untitled, 2014

Untitled, 2014

F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?

Kristin Kula: I have always been an artistic person. My parents, although not practicing artists, have backgrounds in photography and painting. They have always been very supportive of my passions. At eight years old, I won $100 in a fishing competition, and when my parents asked what I wanted to get with it, I chose to buy my first camera.

I continued my artistic practice exploring every medium, but always fell back on photography and photographic collage. A little bit of me is a mathematics and science nerd, so working with cameras and experimenting in the darkroom has always been intriguing. I still use multiple mediums in my artistic practice, but photography always seems to become part of it or informs what I create.

F-Stop: How did the project “Unphotograph” come about?

KK: Unphotograph started in 2012 when I was still attending Columbia College Chicago as an undergrad in the Photography department. I was at a crossroads in my practice. Having attending the program for three years, I had nearly exhausted my passion for photography. What I needed was to put my cameras down for a moment to examine what it was about photographic processes that lured me in from the start.

In a course entitled Constructed Image, I decided I was not going to take a single photograph, and that is where the challenge began. The specific assignment that pushed me into this project was one that specifically stated “photograph an object in five different ways.” Up to that point, I had used performance and found photographs and magazines to fulfill explore different ways of photographing a subject. Having to “photograph” something was never a requirement.

To get around “photographing” with a camera, I went to the color darkroom and explored varying states of water; ice, cold water, room temperature water, boiling water, and steam. Starting with ice onward, I did multiple iterations of photograms and examined the differences the temperature had on the material. I knew that once I applied heat, I would see a jump in appearance in the c-print. The first print I boiled, I used the safelight along with the hot water. The result was a green bubbly photograph blended with the cyan fogging from the safelight. After that, I boiled an unexposed sheet of chromogenic paper in complete darkness, processed it, and out came my first Unphotograph print; a green and white wrinkled piece of paper.

Untitled, 2014

Untitled, 2014

F-Stop: Can you discuss your process for making these images?

KK: My process is mad-scientist-meets-photographer-meets-painter. The driving force behind the way my process has evolved is knowing that analog photographic materials are not only light sensitive, but are also sensitive to heat and chemicals. The process varies piece to piece. There are periods of time that I find myself using a specific set of predetermined rules to creating the pieces and other times when I let go of all rules and let the results surprise me.

Essentially, the process examines the characteristics of chromogenic paper using boiling hot water, irons, a heat gun, and bleach. These are the basic steps I use when creating, but I have also used xylene, acetone, and other solvents to pry into the material. The first year of making these works, I limited myself by making every piece in absence of light and considered them complete once processed. I have since added the use of a heat gun, which emits a small amount of light. I also make manyunprocessed pieces, so that the objectsare forever changing and shifting tones as they are on display.

Scrap, 2013

Scrap, 2013

F-Stop: Some of the images look like they are photographs of objects you have created, can you talk about these (how you made them, what they are)?

KK: Every piece in Unphotograph is a unique photographic object. Some, however, are definitely more sculptural. The first piece that was more sculptural is Scrap (2013). This piece is made from a boiled, bleached, and processed sheet of metallic Kodak chromogenic paper that was probably 20 inches by 7 feet. I was upset by how the print turned out, so I went to roll it up and forget about it all together. Seeing the print rolled was an entirely different experience; I began to love it. After playing with the nearly discarded material, I found a form that worked for the piece better than it could ever have looked flat. I put it back in the crock-pot and boiled the piece till the emulsion stuck together acting as a self-sufficient adhesive.

Since then, I found myself using roll paper more frequently. This opened up the potential for the size to be increased greatly and I realized how I could utilize the material in three dimensions. My most recent piece, Paper Chandelier (2014), uses an entire roll of 5 in x 577 ft Kodak chromogenic paper. Through burning the paper’s emulsion with a heat gun, the surface boils and chars. This repetitive marks on the paper starts at the beginning of the roll of paper curling on the floor and goes on for the length of the two tiers of the chandelier, ending just past the light source in the middle. The base is the meeting of the untouched roll and the spiraling burnt beginnings of the chandelier. It is as if the roll of paper is feeding up to the light and burning the emulsion then swooping into the chandelier tiers.

Chromogenic roll paper to me signifies a commodity once valued in consumer photographic printing at drugstores and other mass photo printing hubs. This paper is now out of production and selling for a fraction of the original cost on ebay. All of these rolls will likely never become photographs and will sit on the shelf to expire and be thrown out if they have not already. Through pieces like Paper Chandelier, I bring new life to the material, allowing it to exist and be seen.

F-Stop: What do you want people to experience or think about when they look at these photographs?

KK: When people see this work, I am always fascinated to hear the many reactions, especially between the photography community and art & design community. Some people go straight into describing what they see within the colors because they want it to be an image of something. Others try to argue what medium the work falls into. A response I particularly enjoy and think about a lot as I move forward is about how the work is “violently beautiful.” Between the burns, bubbling emulsion, wrinkles and creases, the paper is saturated in brilliant colors that are aesthetically pleasing. This juxtaposition of violence and beauty fascinates me, and I hope there are others who see this in the work.

Paper Chandelier, 2014

Paper Chandelier, 2014

F-Stop: Do you have a favorite image in the series? If so, which one and why is it the image that stands out to you most?

KK: At the moment, my favorite is Paper Chandelier. When viewed in person, this piece allows the viewer to walk around it entirely, to look closely and discover it’s intricate detail. Upon closer examination, the backside of the paper is also visible, revealing the actual material, allowing the viewer to more fully understand how the piece is created. I love many of my earlier works, but I am excited to work more sculpturally and in a larger scale.

F-Stop: Are you working on any other projects currently?

KK: Many of my projects are ongoing. I am excited to get back in the darkroom after a five-month hiatus to work on new pieces for Unphotograph. I am also working on previous series of works I have done deconstructing print materials like magazines, books, and newspapers to look at ideas of mass produced commodities that are now digitally digested. Beyond the art that I create, I am also working on projects with a couple collaborative groups and working towards my next curatorial endeavor.

Attempt at a Landscape, 2013

Attempt at a Landscape, 2013

F-Stop: What photographers or other artists inspire you?

KK: There are manyartists I look to for inspiration. Artists that have influenced me once I started working on Unphotograph in particular include; Pierre Cordier, Curtis Mann, Walead Beshty, Liz Deschenes, Marco Breuer, Mariah Robertson, Yves Klein, Robert Rauschenberg, and Lucio Fontana.

I am always finding new work that I am instantly drawn to. During EXPO Chicago 2014, I saw a piece by Richard Galpin that definitely made me stop and silenced me while I gazed at the remarkable piece.

To see more of Kristen Kula’s work:

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Book Review: Bronx Boys by Stephen Shames


I grew up in Queens. I still live here. I live in a apartment in the neighborhood I grew up in. Even within the five boroughs there are stigmas about the other parts of town. Those stigmas pretty much leaked out onto mainstream America in the 70s and 80s. Even to this day tourists think they’re gonna get mugged in Times Square. In 2014 a street mugging in NYC is as rare as finding a Unicorn at the Bronx Zoo. I grew up in the 80s. My youth was taking graffiti covered trains everywhere, corner hot dogs, avoiding 8th Avenue, and eating a slice of pizza from a window on the street.


Bronx Boys brings the dirt of old NYC out in all its glory. Now, don’t get me wrong. When I say “dirt” I mean life. I mean “it is what it is” and making the most of it. Those can be considered blanket terms but New Yorkers have a habit of making the absolute best of their situation and not complaining one iota. We’re the world’s most famous coastal city and the truest melting pot of the world. New York is also a very expensive place to live. A book like Bronx Boys is the American Dream in reverse. This book is about growing up too fast. It’s about connecting with people on a primal level for survival. Stephen does an amazing job of capturing the candids of the life before him while also showcasing the heart and personality of his subjects. The book is a stark look at a life that happened. The images are reality. There is nothing staged here. They will bring a tear to your eye and a smile to your lips all at the same time.


The book itself has a lot of meat to it. One thing I really dug about it was that the narrative was saved for the end. It didn’t break up the flow of the photographs. The narrative will open your eyes, scare you straight, and well those tear ducts up. We all know these kids on some level. The book has a universal appeal. It doesn’t matter if you’re from NYC or Des Moines or Honolulu or South Africa; there’s a bad neighborhood we can all relate to. I recommend Bronx Boys and I think you should enjoy every single picture in this book and take them to heart. NYC is an ever changing animal and these moments among the chaos and clamor will never happen again.


Bronx Boys
by Stephen Shames
The University of Texas Press

Available October 15, 2014
For more info and to purchase the book:

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In 2010, photographer McNair Evans returned to his childhood home in Laurinburg, North Carolina to retrace his father’s life and legacy after his death nine years earlier. His father’s passing had exposed the looming insolvency of their family farming businesses, ending five generations of family and financial stability. The economic impact on the family was immediate but the emotional impact lingered with Evans.

The Cochran Gallery
4 East Lafeyette Square
LaGrange, Ga. 30240

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