Antone Dolezal and Lara Shipley: Devil’s Promenade
July 11 – August 22
Reception: July 11, 7 – 9 PM
1821 West Hubbard Street, Suite 207
Reception: July 11, 7 – 9 PM
1821 West Hubbard Street, Suite 207
Reception: Thursday 16th July, 6pm-7.30pm
In 2008, the People’s Palace in Glasgow featured an exhibition called “Glasgow 1955: Through the Lens”. The exhibition presented images taken in 1955 as part of a project involving several Glasgow camera clubs.
Queen’s Park Camera Club, as the only surviving club of those that took part in the original survey, decided to undertake an update project. In the course of carrying out this work throughout 2010, Queen’s Park members tried to record as many aspects as possible depicting Glasgow in 2010 to feature in an exhibition to show the comparison between Glasgow in 1955 and 55 years later.
Gallery 103 : Trongate 103, Glasgow, G1 5HD
a group exhibition that explores the overlaps and tensions present in the mediums of film and photography.
The Wapping Project Bankside
37 Dover Street, Ely House
W1S 4NJ London
Monuments are deliberate gestures—objects or structures created to commemorate an event, person or era. Their meaning is usually imposed, and they often serve as vehicles for the communication of civic qualities like valor and duty, or to underscore a foundational political narrative. But their meaning can transform, changing over time as the relevance of their symbolism ebbs and flows due to social and political shifts. Like monuments, architecture and photography are also inflected with a grace of intention, and both have the ability to commemorate or represent a nation, event, time or place. Like monuments, their meaning often shifts due to time and context. Furthermore, the act of photographing monuments and buildings transforms them, sometimes revealing some of their original qualities and more closely evoking the responses that they were originally intended to have.
MUSEUM OF CONTEMPORARY PHOTOGRAPHY AT COLUMBIA COLLEGE CHICAGO
600 S. MICHIGAN AVE CHICAGO, IL 60605
F-Stop Magazine: How did you first become involved in photography and what led to you working in this medium as an artist?
Kate Schneider: I’ve used photography since I was sixteen. I am in my mid-30s now. I quickly fell in love with the medium – it was fast, easy (even in the film days), and it provided a nice barrier where I could hide behind my shyness. Also, I’ve always loved politically driven work based in realism. Photography was the perfect medium to investigate the world around me, and to make sense of what confused me. Ironically, what I am working now and what I was interested in at that time are strongly related – I use photography as a tool to comment on the human condition, and our relationship to the natural world.
F-Stop: The current issue of F-Stop Magazine includes images from your project “We, the Heartland,” can you tell us about this project? How did this project come about?
KS: We, the Heartland is about the cultural landscape along the proposed Keystone XL pipeline route in Nebraska and South Dakota, and the protest movement against the proposed pipeline. I became interested in this topic in 2012 when my father and I went on a trip through the American plains states. During our trip I met countless self-professed Republican farmers and ranchers who were staunchly against the proposed project. I also became fascinated with the landscape of the prairies.
I went back to Nebraska a year later with the intent of photographing the landscape along the proposed route, and to show the viewer what could happen to the land if the pipeline is approved. I also wanted to show how the protest movement counters our idea of what an environmentalists is. The people fighting the KXL in Nebraska and South Dakota are not granola-eating college-age environmentalists, but the grandmas, ranchers, Lakota native, and other people who are directly affected by the proposed pipeline.
F-Stop: Can you discuss your process for making these images or your creative process more generally? What were you looking to capture?
KS: As a documentary photographer, my process is dependent on the project participants and my relationship with them. In this instance, the landowners thought I was a spy for the pipeline company, TransCanada, and were not willing to let me onto their land. Eventually, the landowners began to trust me, but this only happened through luck and by helping out on several of the ranches in the area. Once the landowners could see that my intentions were honest, I was then able to make photographs in the region. Really, this work would not exist if it was not for the participants – the people involved in the project were willing to let me photograph on their lands and helped me to meet other people who are affected by the proposed pipeline.
F-Stop: What do you hope people see or feel or perhaps learn when they look at your photographs?
KS:I want the viewers to get a sense of the prairies and what is at stake in the fight against the KXL. Most people have not been to the Sandhills of Nebraska or the Rosebud Sioux (Lakota) reservation in South Dakota, but both places are part of a rich mythology of westward expansion and cowboy culture that is constantly recycled in the media. I want this project to be read within this mythology and to counter the mythology. I also want the viewer to see the complex voices of the white and indigenous peoples fighting against the proposed pipeline
F-Stop: Do you have a favorite image in this series? If so, which one and why is it the image that speaks to you most?
KS:This is a hard question to answer. There are the images that I love because of my memories of that day, there are the photos that I love because of how well the image speaks to the story, and then there are the photos that I am still amazed how everything seamlessly came together without any orchestration on my end.
F-Stop: Are you working on any other projects currently?
KS:I have a few ideas that I am starting to work on, but it’s far too early to discuss the work. I’m now just wondering if what I have is a “thing,” as my friends and I like to say. Going from concept to thing-ness is challenging and can take awhile. You might have a thing or you just might have a pile of dung. Right now it could go either way!
F-Stop: What photographers or other artists inspire you?
KS: There are many artists that inspire me, and the works of these artists are focused on the human condition in the North American context. I just picked up a copy of Paul Graham’s Does Yellow Run Forever. That book is an excellent example on how to tell a complex story in a simple way.
For more of Kate Schneider’s work: kateschneider.net
OPENING RECEPTION WITH THE ARTIST:
SATURDAY, SEPTEMBER 12, 6-8PM
Heads Will Roll critique and reflect upon the state of our world and the role photography plays in how we receive, see, and process information in the digital age.
Hans P. Kraus Jr. Fine Photographs
962 Park Avenue at 82nd Street in New York City
Throckmorton Fine Art
145 East 57th Street, third floor, New York, NY 10022
Opening Reception: Saturday July 11 – 6:00 pm – 9:00 pm
Faced with the difficult task of quickly dismantling her childhood home upon the passing of her parents, photographer J.K. Lavin writes: “Leaving the house in the middle of the night, I stepped into the tree-filled garden transformed by the ethereal light of a full moon. It was a house that I had escaped from, held my secrets, and even though I had never felt as if I belonged in that house, or belonged anywhere for that matter, I knew I would never be able to return.”
Spot Photo Works
6679 Sunset Blvd.
Los Angeles, CA 90038