Annual Juried Exhibition @ Baxter St at the Camera Club of New York

Keith Anderson

Annual Juried Exhibition
August 17 – September 8, 2017

Juried by Andrianna Campbell

The exhibition of work by the three winners, Keith Anderson, Res, and Qian Zhao, will be on view from August 17th to September 8th, 2017. There will be a closing reception on September 8th with a screening in the backyard of work by the 15 Honorable Mentions listed below.

Honorable Mentions
Shay Arick
Leah Beeferman
Clint Colbert
Samantha Lynn Croteau
William Glaser
Juliana Halpert
Susan Rosenberg Jones
Dani Lessnau
Bollen Rie
Victor Rivera
Ryan Spencer
Caroline Tompkins
Anthony Urrea
Aaron Wax
Cristina Velásquez

Baxter St at the Camera Club of New York
126 Baxter Street
New York, NY 10013

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Charles March @ Hamiltons Gallery

© Charles March

Charles March: Seascape
11 – 16 September 2017

“The ‘feeling’ of a place is what I am most interested in. The sea and the seascape view, looking out across the horizon, never changes – it is an eternal view looking out to infinity. It is, if you like, a very deep look at the earth and how we see it. The sea is also a boundary, a line, something to cross or not. It is calming, inspiring and often dangerous. The exploration of that in-between space is an important part of this for me, the liminal space between sea and shore. In one sense it is always moving and changing and in another it is constant. It is kind of a no-man’s land, a place of transition. Somewhere that exists one minute and not the next – an invisible boundary. At the same time inviting you in and keeping you out, beckoning and dismissing.”
Charles March

Hamiltons Gallery
13 Carlos Place
London W1K 2EU

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André Kertész @ Foam

Nageur sous l’eau, Esztergom, Hongrie, 1917 © André Kertész
Ministère de la Culture et de la Communication / Médiathèque de l’architecture et du patrimoine, Dist Rmn © Donation André Kertész

André Kertész – Mirroring Life
15 September – 6 December 2017

“Anonymous flâneur
At a very early age André Kertész was drawn to the photography he saw in illustrated magazines as a child. In 1912, after his study in Business Administration, he bought his first camera from his first pay cheque. His hobby quickly gained the upper hand. He photographed farmers, gypsies and landscapes and made playful compositions featuring his brothers as extras. Even when he was called into the army in 1914, he took his camera with him. However, the photographs he took during the war sooner resemble a personal diary than a news report. In 1925, he left Hungary and moved to Paris. More than other photographers of his time, such as Jacques Henri Lartigue, who focused on his own flamboyant lifestyle, or Brassaï, who voyeuristically captured the cabarets and forbidden temptations of nocturnal Paris, Kertész worked as an anonymous flâneur. He observed the city, taking in its cafés and parks, or simply looked out of the window of his flat. He photographed his artist friends, shop windows, posters and symbols on the street, shadows cast by trees, passers-by, children playing, a pair of glasses laying on a table – simple things, but always captured from a unique perspective, through which he found poetry in the mundane.”

Foam
Keizersgracht 609
1017 DS Amsterdam

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Rob Love and SoonHoe @ Black Eye Gallery

Surface, SoonHoe

Rob Love and SoonHoe: Luminosity & Momentum
July 18 – August 6, 2017

Opening night- Thursday July 20, 6-8pm

“Rob Love creates breathtaking photographs of the natural interplay of water and light found on the shores of Brighton, Melbourne. He found it surprising to discover the light dance hidden in waves penetrated by rays from a setting sun. Often, he has come back from a photo session astonished with the results.

Rob’s striking colours are complemented by SoonHoe’s black and white
visuals. His work portrays synchronised movement between the translucence of ocean waves and schools of wild fish on the shores of Malaysian fishing islands. Consequently, he produces still images that invoke graceful movement.”

Black Eye Gallery
3/138 Darlinghurst Rd, Darlinghurst 2010 02 8084 75

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Gordon Parks @ Foam

Untitled, Watts, California, 1967 © Gordon Parks / Courtesy of The Gordon Parks Foundation

Gordon Parks – I Am You. Selected works 1942 – 1978
16 June – 6 September 2017

“The camera can be a powerful weapon against repression, racism, violence, and inequality. The American photographer Gordon Parks (1912-2006) referred to the camera as his “weapon of choice” and used photography to expose the deep divisions in American society. Parks was an important champion of equal rights for African Americans and in his work addressed themes such as poverty, marginalisation and injustice. Aside from his iconic portraits of legends like Martin Luther King, he especially achieved fame through his photographic essays for the prestigious Life Magazine and his films The Learning Tree and Shaft. With the exhibition Gordon Parks – I Am You. Selected Works 1942-1978, Foam presents 120 works from the collection of The Gordon Parks Foundation, including vintage prints, contact sheets, magazines, and film excerpts.”

Foam
Keizersgracht 609
1017 DS Amsterdam

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Interview with photographer Ellen Jantzen

Cary Benbow (CB): Can you please explain the idea behind your portfolio images submitted to this Color issue? How do they relate to your other projects, or how is it significantly different?

Ellen Jantzen (EJ): These images are from my “Coming Into Focus” series. I recently  moved from the Midwest where I concentrated on landscapes to New Mexico (specifically Santa Fe). This new environment brought both delight and fear of the unknown. In “Coming Into Focus” I am exploring how one’s environmental surroundings are absorbed into one’s psyche and how this changes through relocations. In these days of refugees relocating from their homelands to distant places, my move from the Midwest to the West may seem trivial, but there are still feelings of dislocation and assimilation that take place.

I am approaching this work as both a window through which I observe my new surroundings and a mirror where I bring my sensibilities to bear, reflecting on my inner state. My work in the Midwest was also dealing with memory.

CB: What are the distortions that appear in your photographs? What do they represent for you; do they have significance beyond their role in your scenes?

EJ: The distortions are my reinterpretation of reality. Reality is considered the state of the world, or of things as they exist. But, what actually exists? Are dreams “real”? Don’t people really experience their dreams? I believe that each person creates his or her own reality in some form.

My concept of reality (as expressed in my work) is a fluid state, ever changing…. Sometimes just out of reach. I feel there are parallel realities that can intersect and blend. I strive to reach outside of the conventional construct of what I real to draw inspiration for my work. This is one of the reasons photography is so compelling to me. It has been considered “truthful” and “real”, so gives me the opportunity of playing with that truth.

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?

EJ: I have always been drawn to nature. Specifically, growing up in the Midwest gave me much to draw upon. The four seasons gave me the opportunity to revisit specific areas throughout the year and to witness vast differences. This directly influenced my memory pieces.

“Why” I depict these elements the way I do is a hard question to answer. Take for instance my attraction to trees…. their longevity can lull us into a false sense of immortality. They are seen as powerful symbols of growth, decay and resurrection…. Human themes for sure! I am beginning to become attached to mountains in much the same way as I was to trees.

CB: What makes still photography your choice of expression? Do you create work in other mediums?

EJ: Before digital cameras I created three-dimensional forms made from recycled paper: basically, sculptures and vessels. I also made jewelry. In fact my first manipulated photographs were of my vessels. I still feel a desire to work with my hands, but photo work is my passion. As all of my work is manipulated in some manner, mainly consisting of many layers – so my work could be considered akin to collage. My earliest college degree was in graphic arts, so I’ve always been drawn to imagery, color and form. The digital camera seemed the perfect instrument to capture images solely for the purpose of unloading them into my computer where my art-forms are created.

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

EJ: I am developing a continuation of “Coming Into Focus” that deals with migration….. which is a broad subject, but entails nature (animals that migrate), and the personal. I have combined images from different times, different places in my work, but want to emphasize that more.


To see more examples of Ellen Jantzen’s work, visit her website at http://www.ellenjantzen.com/

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Noora Isoeskeli @ Photographic Centre Peri

Noora Isoeskeli / Your Gaze Is a Loaded Gun
14th July–6th August 2017

“The name “Your Gaze Is a Loaded Gun” refers to the power that is loaded in a gaze. The exhibition is centered around two questions: what kind of power the gaze holds in the world of a sighted person and what our relationship is with the nature and natural.”

Photographic Centre Peri
Itäinen Rantakatu 38,
20810 Turku

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Irene Tondelli @ Torrefazione Vittoria


Irene Tondelli: FAR NORTH
22nd, September/10th, November 2017

“Far North is a breathtaking project dedicated to traveling to the North.
The solitary journey is a catharsis where the absolute presence of nature transfigures and resizes the weight of everyday life, in a kind of psychoanalysis between nature and the author who also questions his place in the world. “Feeling small and powerless in front of the manifestations of Nature sometimes scares and disturbs but also infuses an enormous sense of relaxation and peace.” Of safeness but also of proximity to the idea of ​​infinity.”

Torrefazione Vittoria
Via Ferrabò 4, Cremona (Italy)

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Book Review: The Best of LensCulture Vol. 1

From the series “Sois Belle” © Annelie Vandendael. Winner, Emerging Talent Awards
2016. From the publication “The Best of LensCulture, Volume 1.” Courtesy of LensCulture,
lensculture.com

“How to discover the best practitioners worldwide amidst our image-filled cultures of the 21st century?”, Jim Casper, the Editor-in-Chief of LensCulture, asks in his introduction. “Our editorial team scours the globe – attending festivals, portfolio reviews, exhibitions and graduation shows – in search of new and developing talents. And each year, we organize four annual photography awards to extend our reach even further.” In addition, LensCulture sends out its calls for entries in 15 languages, uses social media and taps into photography newtworks all over the world. In other words, the LensCulture team is undoubtedly very active.

But what are the criteria for great talent? “LensCulture draws on the expertise of an international panel of jury members for each award. These jurors are active and influential in the world of photography. Thanks to their experience, they are adept at identifying photographers who are doing something special in their work. You can be assured that the 161 photographers you will discover in these pages are among the best of the best.” In other words, there are no criteria given and explained respectively.

It might of course very well be that this not exactly illuminating self-promotion – trust us, we are the experts, Jim Casper is basically saying – is well deserved. Although, to claim expertise without elaborating on the criteria employed is pretty common, I do find it not exactly convincing.

On the other hand: It is indeed difficult to define relevant criteria for judging pictures. The protagonist of Robert M. Pirsig’s “Zen and the Art of Motorcycle Maintenance”, who attempted to define quality, eventually came to the conclusion that such a definition is impossible yet that quality can be felt. Differently put: The more time you spend with and around photographs, the greater the likelihood that you will develop something like an educated feeling.

So, let’s look at the pics. First come the Portrait Awards and to these I warm to most and especially to the one by Luisa Dorr from Brazil.

MAYSA: Maysa is an 11-year-old girl entrenched in the poverty and trauma of one of São Paulo’s worst slums. Her possible way out? The “Young Miss Brazil” beauty pageant. Luana, Maysa’s younger sister, has decided she also wants to be a model. Photo @ Luisa Dorr. From the publication “The Best of LensCulture, Volume 1.” Courtesy of LensCulture, lensculture.com.

What draws me to this pic is first and foremost the determination that Maysa radiates. And her outfit. And how her younger sister looks up to her as a role model, or so it seems.

In the Street Photography Awards section there are lots of shots that I loved. Check out Sylvain Biard, Graciela Magnoni, Mankichi Shinshi and and and. One of my favourites is RED by Gareth Bragdon and not least because he tells the story of how he took this photograph. “It was, first and foremost, an absolute mistake”, he writes. Getting curious? You’ll find the full story in the book …

Red © Gareth Bragdon. 3rd Place Singles, LensCulture Street Photography Awards 2016.
From the publication “The Best of LensCulture, Volume 1.” Courtesy of LensCulture, lensculture.
com

Then there’s the section that shows works from the Emerging Talent Awards. It felt difficult to make a choice and I very probably would settle for different pictures next time. For now have a look at the one by Ben Thomas that he describes as “a further deconstruction of cities and urban areas with a primary focus on the use of color and flatness”:

Photo: Ben Thomas. CHROMA II
From the series “Chroma II” © Ben Thomas. Juror’s Pick, Emerging Talent Awards
2016. From the publication “The Best of LensCulture, Volume 1.” Courtesy of LensCulture,
lensculture.com

In this section you will also get to see the cover photograph by Annelie Vandendael. This is how she comments on it: “Nowadays, it is no longer obvious whether we are looking at ‘real’ images or fake ones because they are all manipulated and photoshopped. But representing real people with their imperfections is far more interesting to me.”

The tome concludes with the Exposure Awards. I’d suggest to check out Einar Sigurdorsson’s ‘Sheepwatch’, Vladimir Alekseev’s ‘Life in Russia’ and Alan O’Riordan’s ‘Mending fish nets’. I’m pretty certain that looking at these pics will make you want to check out all the others in this section, and in the whole tome, too.

 

The Best of LensCulture Vol. 1
Schilt Publishing, Amsterdam 2017
www.schiltpublishing.com

The Best of LensCulture, Volume 1 is published by Schilt Publishing, available in stores and online for £22.50 | $29.95 | €25.

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2017 Thesis Exhibition @ Photographic Center Northwest

© John Wilmot

2017 Thesis Exhibition
June 29-August 10, 2017

Thea Billing, Joan Dinkelspiel, Cian Hayes, Harini Krishnamurthy, Albert Varady, and John Wilmot

“This exhibition marks not only the culmination of the 53-credit program, and presentation of a year-long project for these individuals, but introduces a new generation of Northwest artists”

Photographic Center Northwest
900 12th ave. · Seattle, WA 98122 · USA

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