This posting is about a French blogger named Beatrice van den Bossche who uses the name DantéBéa.
I’ve enjoyed following Beatrice’s postings on FaceBook for several years. She was recently blocked and her page taken down by FaceBook because the images violated the so called “community standards” about nudity. This action by FaceBook prompted her to start the new blog.
Beatrice’s blog shows paintings, drawings and photography from Picasso to Josef Sudek. The work shown is mostly photography and from the early to middle 20th century.
I appreciate Beatrice’s artistic aesthetic. Have a look at the site.
By Jim McKinniss
This November dnj Gallery will present two exhibitions with strong ties to France. “La Famille” by Alain Laboile, a French photographer, will be in the main gallery. Dale Johnson’s “Paris Portfolio” will be in Gallery II.
Childhood is the central theme in Alain Laboile’s series. Using his own children as models, he seeks to evoke the universal yet fleeting qualities of childhood, including freedom, curiosity, and a lack of inhibition. Similar to the American photographer, Sally Mann, Laboile records a combination of spontaneous moments of childhood repose, revealing striking pictures of imaginative play. He explains: “Though my work is deeply personal, it’s also accessible, addressing human nature and allowing the viewer[s] to enter my world and reflect on their own childhoods.”
Laboile is the father of six and lives with his children and his wife, Anne, in Arbis, France. Laboile was a sculptor for many years before turning to photography in 2004, first as a means of preparing for and documenting his sculptural work and then as an artistic pursuit. His photographs have been exhibited in France, Cambodia and Japan. “La Famille” is his first exhibition in the United States. He is scheduled to publish a collection of his images with Steidl Verlag next year.
In her “Paris Portfolio,” Johnson was inspired by her own family roots in the city and her family members’ connection to the arts there in the nineteenth century. She “wanted to ‘draw’ the ‘Old Paris’ – the City in its various facets; narrow lanes, old buildings, busy cafes and shops with their window displays.” She employs the method she has developed of shooting with a plastic camera lens on a sophisticated digital camera to give her images a soft and grainy effect, which she further enhances with an additional layer of texture.
Johnson was raised in Buenos Aires, Argentina and Sao Paulo, Brazil and currently splits her time between Carmel, CA and Santa Fe, NM. Johnson earned her B.F.A. in graphic design from the Art Center in Pasadena. In 2008, she began experimenting with photographic lenses that would allow her to combine the aesthetics of her painting style with the immediacy of a photograph. She has exhibited her photography across the country. In 2010, Johnson’s photographs were published in “Color Magazine,” Special Issue #10, and “Urban Country Landscape,” The Worldwide Gala Awards. As a winner in the Emerging Focus Photography Competition, her work was exhibited at photo l.a., 2012. This is her second solo exhibition at dnj Gallery.
Both exhibitions will be on display from November 2, 2013 through January 4, 2014.
For additional information or images, please contact Cambra Sklarz at (310) 315-3551 or firstname.lastname@example.org.
dnj Gallery 2525 Michigan Avenue, suite J1, Santa Monica, CA
EXHIBITION: Alain Laboile, “La Famille”
Gallery II: Dale Johnson, “Paris Portfolio”
SHOW DATES: November 2, 2013 – January 4, 2014
RECEPTION: Saturday, November 2, 6 – 8 pm
GALLERY HOURS: Tuesday – Saturday, 10 am – 6 pm
By Jim McKinniss
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, email@example.com.
612 North Almont Drive
Los Angeles, California 90069
Telephone 310 550 0050
Hours: Tuesday – Saturday, 10AM – 6PM
For a map and directions, click here
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.