Abstract @ Filter Space

© Kerim Aytac

© Kerim Aytac

September 11 – October 22

Alejandro T. Acierto
Diego Acosta
Kalee Appleton
Kerim Aytac
Suzette Bulley
Ernie Button
Mike Callaghan
Joana P. Cardozo
Peter Croteau
Mark Havens
Kathleen Hawkes
Dave Jordano
Jennifer Kover
Rita Maas
Robert Moran
Jim Nickelson Bill Pielsticker
Simon Pyle
Kristin Reeves
Tealia Ellis Ritter
S. Gayle Stevens
Andrew K. Thompson
Nicole White
David Wolf
Ion Zupcu

Filter Space | 1821 W. Hubbard St., Ste. 207

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Elaine Ling @ photo-eye Bookstore + Project Space

photo-eye bookstore_Ling_Tree of Generations_Ling_Ling_#30
Elaine Ling: Baobab: Tree of Generations
through November 7th, 2015

photo-eye Bookstore + Project Space
541 South Guadalupe
Santa Fe, NM 87501

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The Queen’s People @ Eleven

Hugo Rittson: The Queen’s People
19th August to 19th September 2015

The Queen’s People is a compelling photographic portrait of the British monarchy and those who sustain it. The project offers an exclusive insight into the traditional dress codes and pageant of our nation – while also giving a captivating sense of the living characters behind the royal and ceremonial regalia. His most recent portrait of Her Royal Highness The Duchess of Cornwall will be debuted in the exhibition.


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Common imaginary @ FotoDepartament

Nina Dudoladova

Nina Dudoladova

Common imaginary
26.06 – 31.08.2015

Participants: Anna Bashkirova / Yury Gudkov / Nina Dudoladova / Feodora Kaplan / Evgeny Litvinov / Yury Koryakovsky / Daria Pokrass / Anna Sopova / Olga Sukhareva / Natalia Fedorova / Denis Shulepov

Everything started when photography began to be observed as photography – as everyday photography, like an open phenomena. Behind the photography, made not by themselves, not belonging to themselves, or photography trying to hide itself, but the opposite, those demonstrating themselves to someone unknown, and in the end it isn’t important to whom; with tremendous force everything is merged into the ever-multiplying network. Our exhibition is about this convergence and the interconnected enchantment. The excesses, seized by accessible to the gaze space, overcome by individual possibilities of reception and acceptance, by the space of others – neighbors, strangers, anonymous people, by the world of things and desires – authors designate to themselves the game, more serious than which and complicated to present – define yourself across another game. Time and time again balancing between ‘we’ and ‘I’.

FotoDepartament, Russia, Saint-Petersburg, Vosstaniya St. 24

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Nicola Jayne Maskrey @ Free Space Gallery

Nicola Jayne Maskrey Interpretations
17/8/15 – 9/10/15

Free Space Gallery
Kentish Town Health Centre
2 Bartholomew Road
London, Lnd NW5 2BX
United Kingdom

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2015 Diffusion Annual Exhibition @ The Center for Fine Art Photography

2015 Diffusion Annual Exhibition

Heidi Kirkpatrick, David Emitt Adams, Amy Friend, K.k. DePaul, Ali Gradischer, Evan Stanfield, Danielle Dean Palmer, Rachel Phillips, Rebecca Sexton Larson, Lori Vrba, S Gayle Stevens & Katie Kalkstein.

The Center for Fine Art Photography
400 North College Avenue | Fort Collins, CO 80524

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Interview with photographer Hannah Cooper McCauley

The House on the Meadow

The House on the Meadow

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

Hannah Cooper McCauley: I first became involved with photography when I was in my senior year of high school. I had just moved to Alabama from my home state of Mississippi not long before and was having a difficult time adjusting. I had also recently discovered that I had a degenerative eye condition called optic nerve head drusen, which causes mild visual field loss. My parents bought me a small point and shoot camera as a gift, and I quickly found that making photographs helped to combat the loneliness and frustration I was feeling at the time. I started saving immediately for a digital SLR camera, and once I began college I knew that I wanted to work in the medium for good.

I had always known I wanted to pursue a career in art, but originally I wanted to work as a cartoonist, creating stories or developing my own cartoon for a television network such as Nickelodeon. I think I fell in love with photography as a medium because it allowed me to express the things I was feeling at the time in a way that made sense to me, and a photograph seemed so much more visceral and tangible to me than anything else. I was also very much obsessed at the time with what I could and could not see, since the idea of losing my vision was on my mind. I wanted to be able to find comfort in the reality I was facing, but I longed for my life to be something a bit more magical or miraculous than what it was. The photographs I made allowed me to straddle a precarious threshold, with one foot imbedded in reality while the other dangled in the fictitious. I also found that I really loved the idea of creating open-ended narrative with my work, because that allowed me to talk about how I felt without having to directly voice it by using metaphor.

The Other Mother

The Other Mother

F-Stop: The current issue of F-Stop Magazine includes images from your project “A Singular Sense of Urgency,” can you tell us about this project? How did this project come about?

HCM: I began this project a year ago at the start of my second year of graduate school. A lot of my work deals with the notion of transition in some way because it has routinely steered my life from the time I was born. My father is a Baptist minister, and the nature of his job meant that my family moved around pretty often my whole life. I suddenly found myself in a completely new period of transition because I was recently married, living in a new state, and in the middle of grad school. Even though I am used to change, I was exploring a new identity as a wife and lover, and for the first time in my life I was faced with idea of motherhood, and I was contemplating how that might fit into my life. So I began to make this work as a response to that as well as my sort of kinship with temporary. I wanted to use open-ended narrative as a way to address my fears and desires in an abstract way. Many of the images are also self-portraits because there is a performative aspect to making the work that I really enjoy. While in school, I’ve been researching the narrative mode of magical realism, and this largely influenced the way I construct my imagery. When I consider the environment I was raised in, this makes sense; I was taught to believe in the probability of miracles, and to accept the things I couldn’t understand. I learned a lot of lessons through parables, where the use of metaphor was paramount. So I think that even as an adult, I am still looking for the miraculous within the ordinary.

F-Stop: Can you discuss your process for making these images or your creative process more generally? What were you looking to capture?

HCM: Oftentimes I will begin with an idea for an image based on a memory, a dream, or from own my family mythology. Quality of light plays a huge role in my decision to make an image; I try to look for environments where it can personify an emotion. Many of my images are composites, so I typically combine several images to get one that works best. I also think about the color palette of the image; I’m really drawn to red, so I try to use it as a connecting thread throughout the photographs, to move the narrative or express a specific mood. I generally try to do this with all of my images; I think that color and quality of light are what I am most drawn to when looking at photographs. I believe that the thing I am always trying to capture is the way something feels; usually it’s connected to what I am feeling at the time. I’m want to feel connected to others through my work. What I love most about photography is the way it can be used as a tool to facilitate empathy.

The Floating Dream

The Floating Dream

F-Stop: What do you hope people see or feel or perhaps learn when they look at your photographs?

HCM: I think that’s difficult to say; I know that everyone is going to bring their own personal baggage to the work, and they’ll probably interpret it based on their own experiences. But I think that what I would like for people to generally feel is the wealth and immensity of human emotion; that you aren’t alone, and that people are really not all that different from one another.

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?

HCM: I don’t think I have a favorite image in the series; I’ve really enjoyed making each one for various reasons. But one of the most memorable ones is the image of the glass on the table next to a bloody tissue and an old bible. I made the image around Thanksgiving while my husband and I were visiting my parents. My mother had cut her hand while cooking, and it was bleeding an awful lot, almost an absurd amount. So I asked her if I could borrow her to make a photograph and she kindly obliged, which I feel really lucky to have a mom who doesn’t mind supporting me without asking too many questions. And I always really enjoy it when I get to collaborate with someone to make an image. I also enjoy that photograph because the color and quality of light remind me of some other place I might have been, as if that exposure was made in some other universe or at a different time; that’s what I call it The Other Mother— I guess there is something about it that just seems other worldly to me.



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

HCM: Yes, I am! I’ve been photographing my husband Zachary, who is also a photographer. There are many examples throughout the medium’s history of male photographers documenting their wives, like Harry Callahan and Emmet Gowin, but there only seems to be a handful of women photographing their husbands, such as Sally Mann’s beautiful images of her husband So I’m interested in providing my own interpretation of that. That’s a long term project. Short term, I am in the midst of making my thesis work for my final year of grad school, which will involve an autobiographical interpretation of magical realism, but since I am in the throes of it I won’t say too much yet!

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

HCM: I think I’m most directly inspired by my husband Zachary, who is in the photography MFA program with me at Louisiana Tech. We talk about photography all day every day, and he is always willing to listen to me as I work through an idea and provides indispensable feedback And since we are both working in the same medium, we definitely feed off of one another. I’m also really inspired by cinema, specifically the films of M. Night Shyamalan such as Unbreakable, The Village, and The Sixth Sense. He’s really wonderful at using color in an expressive way, and all of those stories involve reality being sort of interrupted by the unreal. I’m also a big fan of the short stories of Japanese novelist Haruki Murakami, which were my introduction to the genre of magical realism. As far as photographers, I am continually stirred by the work of Susan Worsham, Cig Harvey, and Keith Carter. Cig Harvey and Susan Worsham both use color in the most beautiful way, while Keith Carter’s idea of using photography as the poetry of your life really resonates with me.

To see more of Hannah Cooper McCauley’s work: www.hannahlcooper.com

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Michael Tischler @ 345 Broome Street

unnamedMichael Tischler: New York City
September 4-18, 2015

Opening Reception: Saturday, September 12, 5-9pm

345 Broome Street Gallery in NYC

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Patricia Colombraro and Seth Kalmowitz @ fotofoto gallery

Patricia Colombraro   "What Lies Beneath"

Patricia Colombraro “What Lies Beneath”

Patricia Colombraro and Seth Kalmowitz
September 2 thru 26

Reception: Saturday, September 12, 5-7pm

In “What Lies Beneath,” Patricia Colombraro examines the veil of time that we cannot see, but we can feel move past us. Like a child playing hide and seek, the past may be hidden, but reveals itself in fleeting moments. We cling to faded memories to retain the relationships that remain strong within our hearts.

In “Tech 19,” Seth Kalmowitz uses abstraction to examine the mechanical technology from the 20th century. He relates to the forms rather than the functions of the machinery, and where others may see old rusty metal, he concentrates on the aesthetics of design. His desire to seek out more of the art related to the mechanical engineering of this period became a two-year project photographing machinery at various sites across the United States.

fotofoto gallery
14 West Carver Street, Huntington, NY
Huntington, NY 11743

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Looking In, Looking Out @ Santa Barbara Museum of Art

    Luis González Palma, Lottery #1 (Lotería #1), 1989-91. Hand-painted gelatin silver prints. SBMA, Museum purchase with funds provided by the Wallis Foundation.

Luis González Palma, Lottery #1 (Lotería #1), 1989-91. Hand-painted gelatin silver prints. SBMA, Museum purchase with funds provided by the Wallis Foundation.

Looking In, Looking Out: Latin American Photography
October 18, 2015 – February 14, 2016

Selected from the permanent collection of the Santa Barbara Museum of Art (SBMA), the 47 works in Looking In, Looking Out: Latin American Photography explore various aspects of Latin American history and culture. Representing works produced after the 1930s by artists and photographers living and working in Brazil, Colombia, Cuba, Guatemala, Mexico, and other nations, the exhibition highlights the wide-ranging landscapes of these regions, while also documenting many of the societal changes that have occurred from the 1930s to the present.

Santa Barbara Museum of Art, 1130 State Street, Santa Barbara, CA.

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