Copyright the photographers 2014 published by LensWork Publishing
I am very honored to announce that Brooks Jensen has selected one of images from the In Passing project that was published in the #74 edition of LensWork to include in his latest book Looking at Photographs.
Brooks Jensen is the Editor and Publisher of the LensWork journal and almost exclusively is focusing on Black and White photography. The bi-monthly journal is released concurrently in a print edition and a DVD that contains additional portfolios and audio interviews of the artist by Jensen.
He also publishes a series of blog posts that provide extensive homilies about a singular image from the LensWork journal portfolios, which Jensen has collected and becomes the source of this book. Jensen’s photographic essays are sequenced alphabetically as to the photographer work that he is discussing.
I have posted a expanded article about this book on The PhotoBook.
untitled (Irvine Fine Art Center, Irvine, CA) copyright 2014 Douglas Stockdale.
This month, the informal group known as the Photographers Exchange had a slight change of venue within the Irvine Fine Art Center. Instead of using one of the art classrooms, we had an opportunity to use the open space of the gallery and take advantage of the more informal setting. Personally, I thought that this was a great location for our group as it worked really well while discussing the photographic projects that were being presented.
Admittedly, it was a bit tight in the front for the usually five print stands and lights, but it worked. With some more tweaks, it could be a great location and I hope that we can take advantage of this space again.
As usual, there was a pretty diverse range of photographic projects being shared, some of which were interesting enough that the process stalled a bit, such that not everyone had an opportunity to discuss their projects. So a bunch of folks will carry over to the April meeting, since next month is the annual print exchange, see below.
For the March print exchange, it’s fairly simple, but we still find a way to make it into an interesting mess. Basic rule, you bring one photograph (matted or unmatted, but not framed) to exchange with the others and you leave with some ele’s photographic print. It’s how the prints get exchanged that get’s messy, but we usually have a lot of fun. Also it’s pizza and soft drink night, while someone also brings a plateful or two of cookies (the best part).
Last night I had a chance to get squeezed into the last discussion of the evening to show prints and the book dummy (maquette) for my next limited edition self-published book Bluewater Shore. nice.
Copyright Frank Cancian 2013 published by Delta 3 Edizioni
An anthropologist by training and a photographer as a passion, these two elements were fused together in 1957 when Frank Cancian investigated a small Italian hill-top community located east of Naples. This body of work could also pass for a photojournalist story found in either LIFE or LOOK magazines of this same period.
As a trained observer of culture and society, Cancian did not remain aloof and at a distance, but directly interacted with his subjects, catching them in self-reflection as well as allowing them to boldly face his lens. For a small Italian town, an Italian-American stranger with a camera was an oddity, thus his presence was conspicuous. Nevertheless, over time he was able to blend in and become more of an objective observer.
The book is divided into four sections; The Town, The Piazza, Procession of Our Lady of Graces and The Farm, all important elements to life in this region. The double page spread of a wedding progression as it snakes along the hilltop road winding through the town is beautifully composed. The light drizzle adds an interesting atmospheric effect. Cancian includes in the edge of the frame in the foreground a small knot of townspeople who although are not part of the wedding procession, are still very interested in the local event.
The hardcover book has an image wrap cover, with the texts in both Italian and English. The essays were provided by Franco Arminio, Rocco Pagnatiello and Frank Cancian. As Cancian is a member of the Photographers Exchange and a first generation American who family had emigrated from Italy, thus this is also part autobiographical story.
I am very thrilled to announce the publication of my hand made artist book Pine Lake. It is a semi-fictional narrative about a multi-generational summer rite. The fishing trip.
I recently discovered some family photographs of my grandfathers fishing, a passion of which was unknown to me. These small, worn photographs are talismans for the lost memories and stories of my family and led me to created this artist book to tell a story of what might have been. This artist book is part of my on-going series that investigates memory and its preservation.
It is presented in a style reminiscent of a promotional processing book common in the 1960′s produced by Kodak and Ansco, which could be purchase with a film processing order. The book is accompanied by a small collection of preserved ephemera.
Pine Lake is produced in a Limited Edition of 25, with a price of $100.00 USD per book.
The stiff cover book contains 17 black & white photographs with a printed and hand inscribed cover, hand assembled with metal prong binding, and contained inside a hand inscribed poly zip-lock bag with three pieces of ephemera; fishing stamp, fishing notice & a section of fishing line with small weight. The book and ephemera are housed in a custom made wood frame with a printed cover and an elastic band closure.
Exterior size is 8 1/2″ x 10″ x 7/16″ (210 mm x 250mm x 100mm)
The photographic images are anonymous and are from my private collection.
10 x 10 American Photobooks, selection by Douglas Stockdale
Over the weekend, the second phase of the 10 x 10 American Photobooks reading room project was provided at the PGH Photo Fair held at the UnSmoke Systems Artspace (Braddock, PA). This is a continuation of a photobook project that was started in 2012 on Facebook, for which 10 curators chose 10 photobooks created by Japanese photographers. For 2013, the 10 x 10 emphasis was placed on American photographers, but limited to books that were published since 1985. There are two groups of curators, those who selected photobooks in which the photobook would be available as a physical object, to be held, read, and time spent at a venue called the reading room. The second group of curators, one of which I was fortunate to be a member of, made their selection of 10 photobooks and provided links on their web site. I had posted my selection of 10 photobooks on my blog The Photobook. which includes links to the reviews of almost all of the books I selected.
The reading room photobooks are now being packed for the final installation at the Tokyo Institute of Photography (Chuo-ku, Tokyo, Japan), which will take place September 11 thru October 6yh (2013).
This text and the accompanying photos are taken from Judith B. Herman’s article of January 29, 2013 that appears in Slate.com.
All photos are copyright by Aline Smithson.
Aline Smithson loves garage sales. When a single weekend of scavenging yielded a print of the famous 19th-century painting by James McNeill Whistler’s “Arrangement in Grey and Black Portrait of the Artist’s Mother,” a leopard coat and hat, a 1950s cat painting, and a chair just like the one in Whistler’s painting, something clicked. Her years of art education, fashion editing, and honing her darkroom skills, plus her sense of nostalgia, love of family, and wacky sense of humor all came together to produce what Smithson calls “the series that put me on the map.”
Over a period of two years, her mother, who was in her mid-80s, sat erect in the “Whistler chair,” presenting her left profile and a perfect deadpan expression in front of Smithson’s lime green garage door for 20 versions of “Arrangement in Green and Black, Portraits of the Photographer’s Mother.” Instead of Anna Whistler’s voluminous black Victorian dress and white lace cap, Katrine Kleihauer Smithson is decked out in get-ups such as a grass skirt and a safari suit. Smithson scoured thrift stores and eBay for costumes and bad paintings with matching themes.
By Jim McKinniss
I spend a good amount of time looking at photographs whether in books, museums, galleries or on-line. So naturally I’m frequently finding photos that cause me to take a closer look at the photographer’s work.
The photos above were created by some of the photographers I know from my on-line journey through the photo world. I like their work and since I write this blog I’m showing it to you.
By Jim McKinniss
M+B is pleased to present Jessica Eaton’s first Los Angeles exhibition, Polytopes. Eaton’s latest work views the world through the capabilities of photography using a wide array of experimental, analogue-based photographic techniques such as color separation filtration, additive color theory, multiple exposures, motion blur, in-camera masking, cross polarization and lighting techniques. Building on her highly reviewed series Cubes for Albers and LeWitt (cfaal) with Polytopes Eaton develops more configurations from repeated fragments, constructing sculptural works on sheets of large format film. The haunting, luminescent images bloom and grow before the viewer, the result of layered time and additive color theory. Polytopes runs from November 3, 2012 through January 5, 2013, with an opening reception for the artist on Saturday, November 3 from 6 to 8 pm.
Eaton shapes her latest artistic output “in camera” through multiple exposures and the use of different colored filters. In two new works, cfaal 276 and cfaal 279 the tactile, present nature of the work is exemplified through lush details of textured wood grain and large brush strokes radiantly depicted under added colors, their reflections offering up an engaging dimensionality to the work. Bold, vibrant angels energetically cut across space in Eaton’s Tri/Colour/Angles work, the moment of potential, surprise and experimentation revealed at their aligning points. The use of the artist’s studio as laboratory further expands in Eaton’s Interpolation Dramatizations and RGB Weaves – the artist’s analogue take on a digital solution. Through multiple exposures Eaton uses blur and stepped exposures to symbolize the bicubic smoother or Nearest Neighbor – interpolations algorithms used by imaging softwares such as Photoshop. Eaton’s process and the fascinating result is a conversation with the world, navigating the forces of time and space the viewer is presented with a striking sense of possibility.
Jessica Eaton (b. 1977, Regina, Saskatchewan) holds a BFA in photography from the Emily Carr Institute in Vancouver, British Columbia. Her work focuses on the possibilities of the medium and is often experimental in nature. Jessica has been the recipient of the Grand Prix du Jury for the Hyères Fashion and Photography Festival 2012, Foam International Photography Magazine Talent Call 2012, the Bright Spark Award for the Magenta Foundation Flash Forward Emerging Photographers from the UK, Canada and USA 2011, “Hey, Hot Shot”, Jen Bekman Gallery, 2010 and was awarded a Canada Council for the Arts research and creation grant 2011. Eaton’s photographs have been published in numerous publications including Foam, Border Crossings, The British Journal of Photography (cover March 2012), ARTnews (cover image March 2011), BlackFlash, Colour Magazine, Pyramid Power, Hunter and Cook and Lay Flat 02: Meta. Jessica Eaton lives and works in Montréal. This is her first solo exhibition at M+B.
For more info, please contact Alexandra Wetzel at M+B at (310) 550-0050 or email@example.com.
M+B Gallery is located at 612 North Almont Drive, Los Angeles, California 90069
This exhibition runs through December 22, 2012
By Jim McKinniss
dnj Gallery is pleased to announce its upcoming exhibitions by gallery artists Dylan Vitone and Richard Gilles. The main gallery will feature “Leisure” by Vitone. Gallery II will display “Towers” by Gilles. These are both artists’ third solo exhibitions at dnj Gallery.
“Leisure” includes work from Vitone’s “Yellowstone” and “Rutland” projects. In “Yellowstone,” Vitone investigates modern society’s interaction with nature, capturing the throngs of tourists who flock to the historic park. In contrast, in the “Rutland” project, Vitone explores less mainstream pursuits at Skatopia in southern Ohio. Photographing the skate enthusiasts who camp there, Vitone looks beyond the tough exterior of youth counterculture to find an underlying beauty and naïveté. Together, the projects form a dialogue about the role of leisure in American society.
As with his earlier series, Vitone stitches together several images to create a nearly 360-degree view, which, as he states, “allows [him] to show simultaneously details and relationships at multiple spacial and perceptual levels….” “Working in the tradition of street photographers and social anthropologists such as Milton Rogovin and Bruce Davidson, Vitone makes extended portraits of communities through intimate observations of their everyday rituals.” (Leah Ollman, Los Angeles Times, 10-24-08).
Vitone is an Associate Professor in the School of Design at Carnegie Mellon University. He holds a B.A. in Photo-communications from St. Edwards University and an M.F.A. in Photography from the Massachusetts College of Art. His work has been featured in solo and group exhibitions throughout the country and is in the permanent collections of many museums, including the George Eastman House, Rochester, New York and the Smithsonian Institution’s National Museum of American History in Washington, D.C.
Gilles’ “Towers” series in Gallery II captures pairs of vertical structures set against stark panoramas with ample skies and low horizons. He views the towers as “sentries standing watch over the landscape” and, with Google Maps to help him scout locations across the United States (including many in California and Nevada), is meticulous about adhering to the rigid formula of pairs. “Towers” is a continuation of Gilles’ ongoing exploration of the unnoticed and overlooked, and is an invitation to consider both the condition of the terrain and the symbolism of the structures occupying it.
Gilles earned his B.A. in Fine Arts from San Francisco State University. His work has been exhibited in California and throughout the country and is in the collections of the Southeast Museum of Photography, Daytona Beach, Florida and the University of California, Davis, Richard L. Nelson Gallery & Fine Arts Collection, Davis, California.
SHOW DATES: January 12 – February 23, 2013
RECEPTION: Saturday, January 12, 6 – 8 pm
GALLERY HOURS: Tuesday – Saturday, 11 am – 6 pm
dnj Gallery 2525 michigan avenue, suite J1, santa monica, ca 90404 www.dnjgallery.net
For more information or images, please contact Cambra Sklarz at (310) 315-3551 or firstname.lastname@example.org.
By Jim McKinniss