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.
M+B is pleased to announce Greet the Dust, Matthew Porter’s third solo exhibition at the gallery. On view is a selection of new works ranging from Matisse- and Braque-inspired multiple-exposure still lifes, to landscapes from Tasmania and Montana, as well as a portrait. The title refers to a statement made by King Gustav V of Sweden in 1930 upon the return of the remains of three polar explorers. Their bodies had been recovered, by chance, 33 years after a failed balloon attempt to reach the North Pole left them dead on a remote island in Norway.
Photographic analogue materials are well suited to using multiple planes of depictive information. Film allows for the accumulation of discrete exposures on a single piece of material. It is the record of the event, the visual reference of the subject, the template by which one composes, and the agency of the process. Within the frame, objects stack on top of one another, blend where they overlap, and flatten pictorial space. The process allows photography—a visual language of boxed, still images—to collage multiple topics into single frames: colony collapse, Herbert Matter posters, Navajo blankets, Arne Jacobsen chairs, and ash from an artist’s studio destroyed by fire. Together, they form a reticulated pattern of overlapping subject matter.
I have an Arne Jacobsen knock-off chair in my studio, I see them scattered throughout the institution where I teach part-time, and they adorn the lobby of a glowing, glassy-faced condominium that I pass on the way to the subway. Mine is black, but the others are brightly colored, functioning like garnish on the pale, monochromatic hues of open, semi-private spaces.
One of the works, Isle of Mountains, features a small bowl of dirt—dark, moist, and brown against the pale blue of a table. It was scooped from the ground in the Tarkine region of northwest Tasmania, a sprawling rainforest known for frequent reports of Tasmanian Tiger (or Thylacine) sightings. While officially declared extinct in 1983, the last known Thylacine died in captivity in 1933. Because of the large amount of unexplored territory in Tasmania, it is difficult to prove that the animal no longer exists. It is possible that the bowl contains the remains of a Thylacine, dried up and returned to dust.
In 1908, Matisse reflected in a written apologia that he had failed to link his technical ability to any particular conceptual conceit. In his own words, his paintings did not “go beyond the purely visual satisfaction such as can be obtained from looking at a picture.” Taken out of context, this statement could erroneously give the impression that Matisse believed his paintings to be merely meretricious decorations, yet it would be unfortunate to traduce them using the Marxist belief that the economic and political conditions of an artwork’s production should subjugate its aesthetic properties. His work actually contains some of the early provenances of modernism—pictorial compression of space and a nagging anxiety about a shifting cultural identity—despite the perception of his Fauvist, bourgeois complacency.
Matthew Porter (b.1975, Pennsylvania) received his BA from Bard College in 1998 and his MFA from Bard-ICP in 2006. Porter was recently profiled in The New York Times and included in the “After Photoshop” exhibition at the Metropolitan Museum Art in New York in 2012, as well as the International Center of Photography Museum’s “Perspectives 2010.” His work has been exhibited in galleries in New York, Los Angeles, Paris and London and is held in the permanent collection of The Metropolitan Museum of Art, New York and the Statoil Collection (Norway). Porter’s curatorial projects include “Seven Summits” at Mount Tremper Arts, “The Crystal Chain” at Invisible Exports, and “Bedtime for Bonzo” at M+B, which was an ARTFORUM Critics’ Pick in 2011. He is the co-editor of Blind Spot magazine Issue 45, and his writings and interviews have been featured in Triple Canopy, Blind Spot, ARTFORUM.com and Canteen. Porter teaches part time at Parsons The New School for Design in New York, and his first monograph will be published by Mack Books in early 2014. Porter lives and works in Brooklyn.
Matthew Porter: Greet the Dust runs from September 21 through December 7, 2013, with an opening reception for the artist on Saturday, September 21 from 6 to 8 pm.
For further information, please contact Alexandra Wetzel at (310) 550-0050, firstname.lastname@example.org.
612 North Almont Drive
Los Angeles, California 90069
Telephone 310 550 0050
Hours: Tuesday – Saturday, 10AM – 6PM
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By Jim McKinniss
I became aware of Emil Schildt’s photographs some years ago through one of the print publications to which I subscribe. The name of that publication escapes my memory at this moment. I was re-introduced to Emil’s work again through Facebook.
Here is his artist’s statement:
As photography in Denmark isn’t regarded as anything worthwhile, and selling images is next to impossible, I work as a teacher in photography at Vraa Folk high school in DK
Got my first camera by coincidence in 1980.
Autodidact – never attended any formal training.
Discovered the painting with light technique around 1990 and have rehearsed it ever since.
I am an all-analogue photographer, and I plan to stay that way.
The film is very important to me. I prefer medium format or large format film, and I have a tendency to “kill” them.
I use mainly a fine Rolleiflex SL 66E for the medium format, but if taken pictures outside in the nature, I prefer the awesome DIANA camera, as it can render the nature as a place with feelings, moods and mystery.
For my LF photography I use a Sinar Norma (4×5) or my beloved GANDOLFI High precision.(8×10)
I prefer the now absolute Polaroid 665 pos/neg for my painting with light, as the negatives are so fantastic. Also the large format film Type 55 is a clear favourite.
As I have no formal education, I actually don’t consider myself a photographer, but more an image maker. The methods to achieve an image starts with the camera, but my goal is, to make images – not merely photographs.
That puts me, I think, in the pictorialist genre.
This is maybe also why I don’t like the digital world. I miss the negative – the grains – the slowness of the image making.
I have always made a lot of nudes. Being male, it started out as a celebration to the other sex.
Beauty was the key. But a time went by, the nudity became less important. I still prefer my models to be nude as a starting point, but I want the image to contain more than beauty. A story – a certain mood – feelings.
I love to do portraits too. To see whether I can get the soul of the model in the silver.
Still life’s are much fun too! Old fashioned, but with a twist. Some surrealism.
Nature is hard to do – by my DIANA gives me what I want.
All in all, my many different cameras are tools to an end – not the end it self.
I have always experimented in different printing techniques. My goal is, to see what technique that gives the best rendering of the image chosen. That can be hard work – but it is FUN!
Especially if I succeed….;-)
My preferred printing methods are : straight B/W on very good papers!
Liquid emulsion has been my favourite method for years.
But I have also been using Cyanotype, Photopolymer gravure, Van Dyke’s, and lately I have done a lot of Bromoils. As I have not been able to get good bromoils the “normal” way, I discovered that using my beloved Liquid emulsion, I got exactly what I wished for.
The “built in” imperfections are perfect for my types of images. But as I have used liquid emulsion for many years, I can apply the emulsion quite nicely should I wish to.
The liquid emulsion as matrix gives really nice deep shadows, and fine subtle highlights.
The tactility of the end result is very nice.
The liquid emulsion also gives me a variety of possibilities.
After the development of the image, the surface can be manipulated in different ways. An example could be to melt the emulsion with hot water, using a brush – mess around a bit, and then let it dry up again. Then bromoil bleach it and make a bromoils.
This will put the bromoils even closer to the pictorialist genre, having the original photograph disappear a little, getting closer to painting. An image is made.
I use a liquid emulsion from FOMA, but the emulsion can be hand made quite easily with a few ingredients.
This is good news in this all digital world, where the materials for making these old techniques diminishes by the day.
My first year of bromoils making has mostly been about exploring what motives that goes best for this technique. Not surprisingly, “old fashioned” looking motives almost automatically goes well.
The quest is now to explore somewhat newer types of motives, and then give them the extra dimension, that bromoils can do.
I am looking forward to explore.
© Emil Schildt (July 2006)
By Jim McKinniss
The Big Orange Book Festival at Chapman University – A three-day celebration for readers, writers, film buffs and families.
Runs October 11 – 13, 2013 and will take place at Chapman University, One University Drive, Orange CA
The book festival is diverse and includes the themes of: California Voices, Outside the Box(es), Based on the Book (movies, etc), Mystery, Mayhem & Romance, Chapter & Verse and Home & Family.
For more information: http://www.bigorangebookfestival.com
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.
I know Andy from a photographers’ group on Facebook. His current project is “Sex Workers of Kolkata” and the images and text displayed here are taken directly from his Facebook page.
Here is a link to Andy’s website: http://www.andyvc.com/sex-workers-in-kolkata/
Covering human trafficking in Kolkata has been one of the most challenging projects I have done so far. Approaching sex workers was very difficult. I was always followed by their “owners”. To talk with them is almost impossible. Women from all eyes can be found on the red light districts and parks. Travesties and women sell their bodies for $2; 30 minutes time. Used condoms can be seen all around the streets. Many of the condoms are available in small shops along the streets for 3 cent of USD. Some of them are absolutely fake.
Walking through the streets on the red light districts can be a real dangerous adventure. Sex workers will take you very strong from the arms. I was forced many times to get into buildings. Some times they understood I did not want anything and let me go, other times I was push and threatened of been kill. One time I was locket in a room with two sex workers who asked me for money. I had with me $5. After they took the money they asked me to have sex with them. My eyes were in the door, blocked with a stick. One started touching me, I push her away and asked her to please open the door. The adrenaline was on the top and I was starting losing control of the situation. Once they opened the door I walked slowly out of the room. One customer was having sex on the stairs with a young woman. “Please keep going, I am just leaving” I said. Could not find the way out. A building full of rooms, people started going out to see who I was… Pretending to be a costumer is not easy… “Do you want to fuck?” one woman asked me. “No, thank you”, “thanks” is not the best word to be used in that situation… one has to be a bit more inhuman, less polite, something like “fuck you”. But I said “thanks” she grabbed me from my t-shirt. At the end could manage to leave the building and found myself in a maze of streets… . These are normal obstacles a photographer can found covering such a story. However, the experience has been very sad. Many campaigns against human trafficking has been done with posters showing women tied in beds or locked in rooms using models (Many of these campaigns made by UN). Reality is not that, is worst and most of them are prisoners without being tied or locked.I let you with this young girl. Working since she was 10 years old, now with 17, she behaves as an adult in the sex industry, working 24 hours every single day…
To be born poor in India is one of the most saddest thing I have witnessed. There is a high risk to be exploited, especially if you are a women. “Agents” know very well the vulnerable situation in which many people live. Parents sell their children for around $50 to an “Agent” who them, will sell the girl to a “employer” for around $800. The “new life” is dirty and disgusting. It is a life of abuse and suffering.
This sex worker invited me to see the room where she works every day attending around 10 men per day in Kalighat, one of the oldest red light district in the city.
Not all keys open the door to freedom.
By Jim McKinniss
Photographs copyright 2013 by Douglas Stockdale
We had the opportunity last night to join the second year anniversary party for As Issued, an art+design bookstore located in The Lab, a non-conventional shopping area located in Costa Mesa, CA. The evening’s exhibition was curated by Kevin Peterson, whom I captured standing in front of a part of the exhibition, below.
This bookstore has a small selection of contemporary photobooks. The eagle eye reader will spot the Edward Weston, 125 Photographs edited by Steve Crist and published in 2012 by AMMO books (LA, CA). This book really provides a nice selection of Weston’s oeuvre and it was still available at the bookstore, as I already have my own copy!
by Douglas Stockdale
George Marlowe will have work in Dysonna Gallery for the second time. Marlowe’s photos have appeared on television shows on ABC, CBS, NBC and FOX.
This show will run from October 5th through October 25th
The Opening Reception and party on October 5th from 7:00 p.m. to 9:00 pm and a closing reception and party on October 25th also from 7:00 p.m. to 9:00 p.m.
Dysonna Gallery is located at 5373 Wilshire Boulevard.
Gallery hours are 10:00 a.m. to 7:00 p.m. Tuesday through Saturday.
Contact information: Phone: (323) 857-0030
By Jim McKinniss
Christopher Colville (1974- ) After receiving his BFA in Anthropology and Photography from Washington University in St. Louis, Missouri and MFA in Photography from the University of New Mexico, he returned home to the Sonoran Desert and is currently living in Phoenix.
Colville’s works are one-of-a-kind camera-less photopaper-based art. The artist places found and other objects on silver gelatin photo paper, and uses the light and heat from a controlled gunpowder blast to create unique images.
Colville works with multiple art organizations and is currently a Visiting Assistant Professor at Arizona State University. Recent awards include the Humble Arts Foundation New Photography Grant, Artist Project Grant from the Arizona Commission on the Arts, a Public Art Commission from the Phoenix Commission on the Arts as well as an artist fellowship through the American Scandinavian Foundation.
Colville’s first California showing of this body of work will take place at Duncan Miller Gallery.
This show runs September 14 – November 2, 2013.
Artist reception is September 14, 7-10pn
Duncan Miller Gallery is located at:
2525 Michigan Avenue, Unit A7, Santa Monica, CA 90404
Telephone: 310 838 2440
By Jim McKinniss
A friend of mine informed me of David Hamilton through his book titled “Sisters” and so I did a Google search. I found some of his beautiful photos which led me to make this post.
The following text was lifted directly from Wikipedia:
David Hamilton (London, 15 April 1933) is a British photographer and film director best known for his images of young women.
As much of Hamilton’s work depicts early-teen girls, often nude, he has been the subject of some controversy and even child pornography allegations, similar to that which the work of Sally Mann and Jock Sturges have attracted. In the late 1990s, conservative Christian groups in America protested unsuccessfully against bookstores that stocked Hamilton’s photography books.
In 2005 a man was convicted for being in possession of 19,000 images of children, including photos by Hamilton. The images were found to be in the lowest indecency rating. In response, Glenn Holland, Hamilton’s spokesman, stated: “We are deeply saddened and disappointed by this, as David is one of the most successful art photographers the world has ever known. His books have sold millions”. Following the conviction a member of the Surrey Police in Britain stated that possessing Hamilton books was now illegal in the UK. Surrey Police later made a formal apology for this statement and admitted that no legally binding decision had been made on the work of David Hamilton.
In 2010 a man was convicted of level 1 child pornography for owning four books, including Hamilton’s The Age of Innocence as well as Still Time by Sally Mann, which he purchased from a bookstore in Walthamstow, London. His conviction was overturned on appeal in 2011, with the judge calling his conviction “very unfair” and criticising the Crown Prosecution Service (CPS) for prosecuting him. The judge concluded that “If the [CPS] wishes to test whether the pictures in the books are indecent, the right way to deal with the matter is by way of prosecuting the publisher or retailer – not the individual purchaser.
By Jim McKinniss