7.18.2014

LISA ELMALEH: American Folk at Foley Gallery

Matthew Kinman and Moses Nelligan, West Virginia , 2013
Photograph © Lisa Elmaleh
 
 Janice Birchfield, Tennessee, 2013
Photograph © Lisa Elmaleh

Jim Costa's Porch, West Virginia, 2013
Photograph © Lisa Elmaleh

Lisa Elmaleh has been creating tintypes of traditional folk musicians who live in and around the Appalachian Mountains since 2010. Her project grew out of a love of the land, American folk music, traditional American culture and her own romance with this 19th century photographic process.

Portraits captured by tintype call for great patience from both the sitter and the photographer. An entire day is spent with each musician - each 8x10 plate is hand coated, exposed in a large format camera, and developed on-site. The tradition of American folk music echoes in the historic nature of the tintype photographic process, connecting photographer with subject, each with their pursuit of keeping their own respective histories alive and well in the 21st Century.

These warm-toned portraits combined with a selection of their natural landscape counterparts, provides a full setting for understanding a way of life.  The crops are garlic and tobacco and the wardrobe is dungaree and flannel.  Hands are well worn, larger from labor and the rigorous playing on their instrument of choice.  Elmaleh’s approach is simple and straight forward which echoes the lifestyle and the plain dresses worn by her female subjects.
 
Elmaleh lives and works in Brooklyn, NY.  She holds a BFA from the School of Visual Arts in NY.  Her photographs have been exhibited widely including a solo exhibition at Candela Books + Gallery in Richmond, VA. Group exhibitions include ArtCenter South Florida, Miami, FL; Ogden Museum of Southern Art, New Orleans, LA; Bronx Biennial Group Show, Bronx, NY.  Her work has been published in Harper’s and Black & White magazines.  She is a past recipient of the Tierney Fellowship. (Text courtesy the Foley Gallery)
July 17 - August 9, 2014

7.16.2014

INTERIORS: Flowers Gallery New York

JULIE BLACKMON
Hair, 2013. Photograph © Julie Blackmon
About Julie Blackmon

JASON LARKIN
Museum11. #3, 2009. Photograph © Jason Larkin

INTERIORS features contemporary photographers Tina Barney, Julie Blackmon, Edmund Clark, Jacqueline Hassink, Nadav Kander, Jason Larkin, Lori Nix, Robert Polidori, Hrvoje Slovenc, Richard Tuschman, and Shen Wei. Opens July 17 at Flowers Gallery, New York .

INTERIORS
July 17 – August 30

7.15.2014

RICHARD GERE: Pilgrim

 Giza, 2005
Courtesy of the Gere Foundation
Photograph (c) Richard Gere  

EA: Your photograph of the Pyramids and the South Pole (not shown) are like two jewels. I’ve never seen a photograph of the Pyramids from that angle before.

Richard Gere: I was in Cairo in 2005 on the way to the Middle East to meet His Holiness in Jordan, in the ancient stone-carved city of Petra. Elie Wiesel co-hosted “The Petra Conferences” with King Abdullah II of Jordan. They brought together Nobel Prize winners with distinguished social and political leaders. His Holiness was there and I was invited to come, but on the way there I was speaking at a conference of Arab women, "Women, Creativity, and Dissidence" in Cairo, Egypt, under the aegis of the Arab Women Solidarity Association (AWSA). I was there for a couple of days and I befriended one of the key archeologists.

I asked to get to the Pyramids early in the morning. I got there in the morning at dark and waited for the light to come up. We were way out in the desert. I took a lot of pictures. Somehow it was out and around, way on another side, and I could see the Pyramids were almost lining up. When the light was coming up, all the lines were converging and I just had to move maybe ten or twenty yards over, then all the lines created these planes. I’d never seen that angle in a photograph before either.

Richard Gere is represented by the Fahey/Klein Gallery, L.A.

Richard Gere, 108 Stupas
Erdene Zuu, Karakorum, Mongolia, 1995
  Photograph (c) Elizabeth Paul Avedon

 Richard Gere and Khyongla Rato Rinpoche, Bodh Gaya, India 1987 
Photograph (c) Elizabeth Paul Avedon
AMERICAN PHOTO MAGAZINE


As I've lost most of the negatives from the photographs above and on the Gere Foundation site, click through for a last look before they disappear completely! – E.A.

A pilgrim is defined as a person who travels on long journeys. Richard Gere’s book of photographs, Pilgrim (published by Bulfinch Press, ISBN: 978-0821223222), is available from Amazon.com. All proceeds are donated to the Gere Foundation that supports humanitarian causes throughout the world. 

7.10.2014

SEAN PERRY: The Wonder of Asymmetry




  
On the Wonder of Asymmetry, Part Two

In 2008, at the dawn of the greatest stock market panic and decline in nearly 80 years, I started trading in earnest. I had loosely followed financial markets for 7 years prior, mainly investing as most do via mutual funds with the small deduction from a part-time paycheck. Shall we just agree, trial by the fire of Hephaestus is a considerably understated depiction of the escapades that would follow.

I cannot help but find this experience a most interesting proxy for navigating the world of photography call for entries and competitions – which are seemingly unending and certainly no less harrowing. Unexpectedly, trading has informed my practice and teaching in many ways – including adopting comparable strategies for opportunities that require a financial investment. As I am certain you are aware, nearly all do today. Hence my reverence for the organizations and calls that reside in a photographers favor, such as the aforementioned Critical Mass, as well as the exceptional PhotoNOLA, LensCulture and Review Santa Fe among the select few.

Still the labyrinth and spectacle of finance both delights and flummoxes me, including it's many fascinating characters cast as heroes and villains alike. I confess at times this strange hobby just bewilders all of my synapses – conjuring visions of multidimensional chess against doyens speaking in tongues. Yet I persevere, and continue to look for the sages and their keys who have traversed these dark pools.

Allow me to introduce you to one such gentleman.

Paul Tudor Jones is the quintessential bad-ass. Seriously. He imagined and then built the Robin Hood Foundation and the Excellence Charter School. October 19th, 1987, careers, egos and wealth were alight in a most spectacular fashion as companies of the Dow Jones Index lost a combined $500 billion in value in a single day. Meanwhile, Mr. Jones calmly procured a cool $100 million on an asymmetric bet. He had anticipated Black Monday with the adeptness and moxie to bank it.

Asymmetric bets – I like that.

I first discovered Mr. Jones in the 1989 title by Jack D. Schwager, Market Wizards – a sublime collection of back stories and interviews with elite traders and financial minds. He is introduced under the heading of The Art of Aggressive Trading, and though his investment prowess is exceptional, equally so are his philanthropic endeavors and accomplishments. At the time of the books publication, the newly founded Robin Hood Foundation endowment had grown to an impressive $5 million. Now twenty five years later, it has distributed more than $1.45 billion into various initiatives and programs to alleviate poverty in New York City. Remarkable what can be fostered with desire and tenacity.


I am grateful for Mr. Jones and the nourishment found in studying his life and work – his deceptively simple discipline renders so powerful in practice. He readily consumes his failures and like a phoenix, ascends. I leave you with this passage from a speech he gave to the graduate class of the Buckley School, 9th grade boys commencing a new chapter in their young lives. I accept that pursuing the work I love, entwined with the necessity of refining opportunities to sustain it, will always be laden with the dragons he speaks of below. Asymmetry is a welcomed companion in these formidable times. I brave on.

"Some things happen to you that at the time will make you feel like the world is coming to an end, but in actuality, there is a very good reason for it. You just can’t see it and don’t know it. When one door closes, another will open, but standing in that hallway can be hell. You just have to persevere. Quite often that dragon of failure is really chasing you off the wrong road and on to the right one. Some of your greatest successes are going to be the children of failure." – Paul Tudor Jones, 2009

Sean Perry is a fine-art photographer living and working in New York City and Austin, Texas. His photographs and books center on architecture, space and light – the ambiance felt within built environments. He is currently completing three series on New York City entitled Monolith, Gotham and Fotopolis, as well as exhibiting a recently completed body of work on the dreamscape of temporary environments, Fairgrounds. read more

7.05.2014

W.M. HUNT: "Foule - American Groups before 1950" in Arles from the WM Hunt Collection

from the W.M. Hunt Collection
“Foule - American Groups before 1950" 
7 July – 21 September, 2014 
Palais de l'Archevêché
35 Place de la République, 13200 Arles France

“Ramona Lodge”, Women in costume, early 20th Century 
Unknown Photographer or Studio

Men with bow ties, 1890's. Horner Studio

“The Human U.S. Shield, 30,000 Officers & Men, at Camp Custer, Battle Creek Michigan, Brigadier General Howard L. Laubauch, Commanding”, 1918.  Mole & Thomas (Arthur Mole b. England 1889 – died US 1983 & John D. Thomas, American, dates unknown) 

Click on images to enlarge!

 “Hunt’s Three Ring, Circus”, Northport, LI, NY
June 26th, 1921, E.J. (Edward J.) Kelty

The W.M. Hunt Collection
“Foule - American Groups before 1950" 
7 July – 21 September, 2014 
Palais de l'Archevêché
35 Place de la République, 13200 Arles France

Play this short VIMEO with Collector W.M. Hunt

7.04.2014

HAPPY 4TH OF JULY!

4th of July. Anniversary of the
Signing of The Declaration of Independence

Although Thomas Jefferson is often called the “author” of the Declaration of Independence, he was a member of a five-person committee appointed by the Continental Congress including Benjamin Franklin, John Adams, Robert Livingston, and Roger Sherman. When writing the first draft of the Declaration, Jefferson primarily drew upon two sources: his own draft of a preamble to the Virginia Constitution and George Mason’s draft of Virginia’s Declaration of Rights. After Jefferson’s first draft, the other members of the Declaration committee and the Continental Congress made 86 changes.

Jefferson was quite unhappy about some of the edits made to his original draft of the Declaration of Independence. He had originally included language condemning the British promotion of the slave trade (even though Jefferson himself was a slave owner). This criticism of the slave trade was removed in spite of Jefferson’s objections.

"Original Declaration of Independence/ dated 4th July 1776," was handwritten on the back of the Declaration of Independence. No one knows who wrote it. (read more here)

7.01.2014

SEAN PERRY: Critical Mass 2014

 "Surfland" photolucida, 2009
08.07.04 #1 Abbey
Photograph © Joni Sternbach

"Findings" photolucida, 2005
White Terns, Midway Atoll, 2000 
Photograph © Hiroshi Watanabe

On the Wonder of Asymmetry, Part One

I am quite fond of the phrase asymmetric opportunity – parlance divined from a curious fascination with the renegade spirits who define finance. I am particularly inspired by the adroit Paul Tudor Jones, to look for and capitalize upon these succulent rarities whenever one can.

Critical Mass is part of photolucida, an outstandingly run arts nonprofit based in Portland, Oregon. It's directed by the lovely Laura Moya and has a fantastic board and group of contributors. I will save the photolucida reviews for another time, today I want to tell you about Critical Mass.

You submit a 10 image portfolio with associated information to a pre-screening review committee of 25 jurors. They select 200 of the best portfolios and that is then sent to over 200 reviewers/jurors. Yes, 200! From the curated 200, the Top 50 are announced and awards are selected including a monograph. I have a sweet (and scarce) collection of titles from past winners, including Camille Seaman, Joni Sternbach and Hiroshi Watanabe. Another inspired detail, when you participate you receive a copy of their book even if you don't make the Top 50.

"The Last Iceberg" photolucida, 2006
Stranded Iceberg I, Cape Bird, Antarctica 2006
Photograph © Camille Seaman

I encourage the perusal of outstanding Reviewers, even if you feel your project is not yet ripe to apply. The Picture Review alumni use these calls as a little black book – it is a great way to know who does what, where and prepare for a time when perhaps you are ready.

My past submissions proved helpful in many ways, including tangible benefits to my career path and relationships. Also the important practice of presenting new work. I would love to win the book prize (of course!) but in truth, that's not the reason for doing this.

Potentially 225+ legit reviews of your work for $75.00. If you make the top 200, you have to pony-up to move forward. I believe $200.00, which works out to $1.22 per review/contact.

So beautifully asymmetric. You will find no better example in photography calls today asking the risk of little, in exchange for generous passage and potential. July 16th is the deadline to enter, I wish you all luck and triumph.
Registration for Critical Mass 2014 is open until July 16th, 2014
Sean Perry Photographs

6.26.2014

JENNIFER McCLURE: Laws of Silence

Photograph © Jennifer McClure

Photograph © Jennifer McClure

Photograph © Jennifer McClure

EA: Define your point of view. Are you ever trying to tell a story?
 
Jennifer McClure: I read that Thomas Roma likens the making of photographs to Robert Frost's idea of making a poem: "A poem begins with a lump in the throat; a homesickness, a lovesickness." My pictures come from that emotional space of longing, of wishing for things that never were and might never be. I don't know if I'm telling a story as much as trying to find a way out. I can only see a feeling clearly when I disarm and immobilize it, pin it to the wall and examine it with the others.
 
EA: What were your first subjects when you began?
 
Jennifer McClure: The first series I did was about nine years ago. I had just gotten clean and sober but I wasn't really comfortable with the idea. I put an ad in the Village Voice to photograph substance abusers. We spent a lot of time together, and I got to ask them the questions I was afraid to ask of myself. We had different circumstances but the same emotions and desires and needs, the same flawed coping mechanisms. This is what fascinates me, whether I am photographing myself or others: how we come to be the people we are, and how we choose to handle the lots we are given.  

 Photograph © Jennifer McClure 

The photographs of Jennifer McClure are being shown in an exhibition at the Drift Gallery until July 20th, 2014, along with photographers: Aline Smithson, Bear Kirkpatrick, Christa Blackwood, Cig Harvey, Noah David Bau, Amy Elkins, and Alec Von Bargen.

Portraits in Contemporary Photography
Exhibition through July 20th, 2014
The Drift Gallery, Portsmouth, NH

6.25.2014

BRUNO TAMIOZZO: Social Reportage

Men On A Train, Maputo (Mozambico, Africa)
Photograph © Bruno Tamiozzo

Women With Water, Pongala (Kerala - India)
 Photograph © Bruno Tamiozzo
 
Little Girl and Boy With Milk, Lagos (Nigeria, Africa)
 Photograph © Bruno Tamiozzo

Bruno Tamiozzo with children of Bhubaneswar (Orissa)

Bruno Tamiozzo is a photojournalist specializing in social reportage. He works with several charitable non-profit foundations whose missions are to help women and children in serious need worldwide. He attended the Masters in Photojournalism and Reportage at The Institute of Photography and Integrated Communication, and workshops with photo-editors and photographers for Internazionale, AGF, Contrasto, The New York Times, and Magnum, among others.

and Follow on Facebook

6.18.2014

SEAN PERRY: Notes from The Picture Review II


Passion is lazy. It is grounded to earth and body, an ally of need and consumption. In a word temporal. Like other emotions, it is a state of being that will wax and wane as we travel between different experiences and conditions. It will leave you at times, only to return and disappear again.

With so many photography competitions calling for entries and other opportunities requiring writing, it might be a seductive word to scribble as you grasp for what you want your audience to feel. Though you may be tempted, be wary of it's capricious fire. Meaningful work deserves language that is more substantial – something more present, less temporary.

If we have shared time in a class, you will be familiar with themes that I introduce every few semesters. Spring Picture Review alumni and my current classes are tasked with the following observation from Warren Buffett, "Only when the tide goes out do you discover who has been swimming naked."

What a great quote and impactful message. It is about how quality is veiled when participation is easy and the fortitude needed to flourish when conditions are not so accommodating.

I am certain Mr. Buffett's success and expertise has been seasoned with something denser than passion. In my experience the artists I have studied and loved the most have little regard or reliance upon it, as well as it's sister flame, inspiration. They are too busy working and making things, under any conditions, impassioned or not. One of my heroes is particularly perspicuous about this idea, eloquently stated as "Desire trumps passion every time."
 


Thomas Keller is an American born chef, largely known for his exacting excellence and contribution to the renaissance of the farm to table movement in contemporary restaurant culture. He reminds me of Irving Penn – precise craftsmanship and the transcendence from virtuosity to expression. His first book, The French Laundry Cookbook, is a dense collection of captivating stories and photographs alongside complex recipes and techniques. It is truly awesome. I recall a blog at one time that endeavored making all of the food from it's pages, much like the film Julie and Julia – wonderfully committed and obsessed.

In his 2010 TEDxTalk, he presented his ideas on what it takes to build a successful restaurant and career. I trust you will find many parallels and truths not far removed from our world of image making. For example his equations, "Cooking = ingredients + execution" and his recipe for "Rapid Evolution." These are applicable to good photographs and the life we build around our pursuits. I remain struck by his surgical dissection of what ingredients are necessary to manifest excellence and the distinction between desire and passion. I think to myself often, I need to know this! I want to hear, understand and embody what these elements are. The way in which he assembled his team is not unlike Steve Jobs and the rebel band of artisans that launched Macintosh. 24 minutes in total, you will not be disappointed. (the time challenged can skip to 12:45, though regrettable for you to miss anything here!)


This past spring a rather curmudgeonly colleague stumbled into my classroom as we were discussing Mr. Keller. With unsurprising sarcasm the following declaration was given, "This is not photography! This is a Photoshop class, what on earth are you doing?"

Watch the video and I will ask – would you like the spirit of your photographs and practice to be cut from the same cloth as Chef Thomas Keller? Or do you, like my salty colleague, find me a mere charlatan, smitten by a clever ruse with semantics. I maintain there is a brilliantly rare ingredient here – for myself it remains a quiet meditation, as I steady the horizon and gather my resolve against stormy seas. 

Onward, forward. – Sean Perry

6.13.2014

SEAN PERRY: Sheila Metzner. Color

Sheila Metzner, Color

Beautiful printing, fine photographs and exquisite publishing. There is a trifecta of mastery at play that make this a unique and desirable title. I am moved by each and believe you will find them worthy of your time.

The Fresson print is a lush, secretive and exclusive process akin to the carbon print, first shared with the French Photographic Society in 1899 by Théodore-Henri Fresson. In the 1950s two of his sons opened a shop in Paris and evolved the process to render color. They continue today with the inventors' grandson and great-grandson now producing these distinctive prints. Rich and tactile with a soft elegant palette, they feature grain and texture that echoes the atmosphere of a pointillist painting.

I am so not kidding when I say rare! It is a proprietary process and only produced for artists in small quantities by this French family. Extraordinarily stable and perhaps the most archival of all color printing processes, they are highly prized by collectors. I have a deep love of these exquisite objects, introduced to me by photography icon Sheila Metzner.

 by Doug Beach

Born in Brooklyn, New York in 1939, Ms. Metzner is an immensely collected artist known for her work featuring Fresson prints. She attended Pratt Institute and began a career in advertising, rising to the first ever female art-director at Doyle Dane Bernbach. She left after the birth of her first child (of five) and continued to make pictures relatively unknown for years. Critical mass arrived as the preeminent curator John Szarkowski (Museum of Modern Art), included one of her images in the notable exhibition "Mirrors and Windows: American Photography since 1960." It would be the catalyst to launch editorial, fashion and commercial clients as well as her work being acquired for significant permanent collections including The Metropolitan Museum of Art, The International Center of Photography and the Museum of Modern Art.

Her retrospective monograph Color, was masterfully produced by Jack Woody in 1991. It covers the first 20 years of her career – a broad range of fashion, still life, portraits and landscape work. It's truly a beautiful title produced by one of my favorite publishers, Twin Palms. The book is 9 by 12 inches with 76 four-color plates over 172 pages. Lush green cloth boards with titles stamped in black on spine and cover. This copy is in near-fine condition, with only the lightest shelf wear to the dust jacket. Binding is tight with crisp and bright pages, no remainder marks and no clippings. Publisher postcard is still tucked inside end-paper and front cover. Likely never read, my guess overstock to a bookstore somewhere. First Edition, First Printing.

Twin Palms Publisher, Jack Woody
Photograph by Duane Michals

The book is on hold at the HPB Parmer location in Austin, Texas until Sunday at close under the name, Mr. Fresson. Originally available at $60.00, I suggest you partake, it is offered exclusively for $5.00 to the first to ask for it at the checkout counter – a sumptuous feast for your senses for a few pennies and pluck.

Internet friends may find copies online. I found a decent list at AbeBooks to survey here. And a signed limited edition is available directly from Twin Palms Publishers.

Until next time – Sean Perry

6.10.2014

SEAN PERRY: Notes from The Picture Review

 Curator and Collector, Wm. Hunt, 2011  
"Go forth and build, speak to the wonder and joy 
that is so vacant in your adversaries"
Photograph © Elizabeth Paul Avedon
  
SEAN PERRY: Part I

I am restless – intrinsically. Annoying as of late more so, and in part by petty nemeses soon vanquished. It is in these times I refer to one of Mr. Hunt's sublime life lessons (adapted) – go forth and build, speak to the wonder and joy that is so vacant in your adversaries.

If we have shared time in a class together you may know I have a proclivity for books. I enjoy all lovely printed things, particularly photography, design and architecture books. I often partake in obscene amounts of caffeine and wander the aisles of book and thrift stores, seeking respite and delight in something beautiful discovered.

Another curricula of The Picture Review is the study and research of good photography through the culture of books. So many important considerations are at play – the languages of printing, design, typography, sequencing and more. Do you know the stereotype of trusting a corpulent chef? I believe we must eat well if meaningful art is to be had, whether consumed, created or espoused.

(Photograph: Sarah Wilson)

I recently had a conversation with Ms. (name redacted) at Half Price Books and have very exciting news to relay. While I work through this temporary over-restlessness, I shall occasionally select an exceptional book to share. HPB has generously agreed to offer this selection to you, with compliments of a discount in honor of The Picture Review initiative. I will feature the book in a post here and place it on hold under a nome de plume. Expiring that Sunday at close, (9pm) the first one to request the title from the counter using said alias has it.

Now let us begin this hedonism with proper grandeur. I have perused the current offerings at many locations there is much to devour. There are titles from Twin Palms, Steidl, University of Texas Press and Monacelli Press to name a brief few.

It is my joyful privilege to introduce The Picture Review Sunday Find. May a season of bounty and voracity be upon us.

The Life of a Photograph

SEAN PERRY: Part II

Filled with the sweet nectar of deep discounts and haptic pleasure, did you empty your chalice? I most certainly did, trekking to all Half Price Books locations both far and wide. I imagine only eclipsed by the diligent Mr. Drew Lee, who valiantly sailed towards the dark secrets of San Antonio aboard a modern day Pequod. Fortuity favors the adventurous and prepared, he returned with a most stellar trove of fortunes.

I am joyous our chambers here echo greatly of treasures won – Keith Carter, Kate Breakey, Lee Frielander, Sébastien Meunier, Irving Penn, and Sam Abell among other giants. It is indeed a time of bounty and celebration, well done!

Many of us gorged on Mr. Abell's title, The Life of a Photograph. What an exceptional book and man. Picture Review Alumni will recognize the language, the title is an eloquent and well stated theorem of his work. Sam Abell is a esteemed mid-western born photographer known for his poetic amalgamation of subjects and styles, traversing photo-journalism to fine-art. He first worked for the National Geographic Society in 1970 at the age of 25, and went on to photograph over 20 features. He has published at least 9 titles I am aware of, likely more. Study the life he has woven around photography – as a photographer, author, teacher…. you will find no truer a storyteller and artist. His own words are best, and I implore you to read the interview with Mr. Blaustein below.

http://www.aphotoeditor.com/2013/09/04/sam-abell-interview/

I find his photographs so well seen and thoughtfully made. I am particularly thankful for a lesson he learned from his father, "compose and wait." It left a lasting impression upon me and is but one of a long list of gifts garnered from his generous teachings. Last year I made an image in Kyoto that I am deeply grateful for. Mr. Abell metaphorically by my side, I composed the frame as I was crossing the Kamogawa – then waited, for the unexpected gesture I needed to complete the image.
Three Crows, Kyoto Japan
Photograph © Sean Perry

The video below is not your typical Facebook distraction. No sir, it is rich with sustenance – 43 minutes of pure insight and excellence. The book can be had for a mere pittance on Amazon, and perhaps you may still find a copy or two here. Tarry not, it will be a loyal companion for you – for that I am sure.

http://www.youtube.com/watch?v=ceJ0S5P-Ybc

6.04.2014

JAMES ESTRIN: Oprah's Super-Soul Sunday TV

On Oprah's OWN TV

“Silence and Dust, 9/11 Memorial, 2002” On the first Anniversary of the World Trade Center attacks, rescue workers formed a circle on Ground Zero for a minute of silence. At that moment, a strong wind blew dust around the circle. © James Estrin/The New York Times

A must-see video of award-winning photographer James Estrin talking about his Spiritual Experiences and Photography, is introduced by Oprah herself!  Tune in Sundays at 11 a.m ET/PT for Oprah's Super Soul Shorts on OWN Network.

"James Estrins' sensitivity and technical skill combine to create impactful moments in the world he observes..." When thousands of people gathered to commemorate the first anniversary of 9/11, Estrin was assigned one of the least accessible vantage points, yet his extraordinary photograph, “Silence and Dust, 9/11 Memorial, 2002”, was the most powerful (and chilling) image made of the event." Read more from my Interview With James Estrin on L'Oeil de la Photography

6.03.2014

PHILLIP GARBER: Auction to Benefit SAY "Every Voice Matters"

Times Square in the Rain
Photograph © Phillip Garber

Auction to Benefit 
SAY: Stuttering Association for the Young

"Our mission is to empower young people who stutter and inspire the world to treat them with compassion and respect so they can achieve their dreams. Our vision is a world where every voice matters."

Phillip Garber, a former student of mine, is a SAY alum and a sophomore in the BFA Photography program at the School of Visual Arts in New York. An aspiring photo-journalist, his focus is social documentary work. He attributes much of his confidence and success to SAY, which broadened his horizons and him gave him the power of his voice. "No matter how hard a situation may be, you always have an ally in your community."

Up for auction is Phillip's silver gelatin "wet print," Times Square in the Rain, with a starting bid of $250.00. Auction runs to June 12, 2014. Start bidding!


SAY: Stuttering Association for the Young is a nonprofit organization dedicated to helping young people ages 8-18 through the organizations theater program, summer camp, and speech therapy. 

5.31.2014

HALEY MORRIS-CAFIERO: Wait Watchers

Flanders / Marilyn:  Palm Springs, CA
© Haley Morris-Cafiero
 
 Titan: New York, NY
 © Haley Morris-Cafiero

Gelato
 © Haley Morris-Cafiero

Cops: New York, NY  
© Haley Morris-Cafiero

Vitoria:  Barcelona, Spain 
© Haley Morris-Cafiero

I met Haley Morris-Cafiero and viewed her series "Wait Watchers" less than a year ago at Chicago's 2013 FilterPhoto Festival. Since that time, her work has exploded onto the photography scene. It was chosen by curator Kyohei Abe (Director and Chief Curator at the Detroit Center for Contemporary Photography) for his exhibition "Juxtapose" at the Darkroom Gallery; chosen by curator Susan Burnstine for her show "The Visual Narrative" at the Minneapolis Photo Center; chosen for the Houston Center for Photography's 32nd Annual Exhibition juried by Malcolm Daniel; and soon to be seen on The Photoville FENCE in both New York and Atlanta.

Haley is based in Memphis. She received her MFA in Art from the University of Arizona and her BFA in Ceramics and BA in Photography from University of North Florida. She is currently an Associate Professor and Head of the Photography Department at Memphis College of Art. She uses film and digital rangefinders to capture her images. The unaltered images are printed using digital process.

The Series: WAIT WATCHERS

"I have always had a hard time controlling my weight. My....exterior has determined my place in society and I have often felt left out and awkward. I photograph myself in socially engaged spaces to examine how my body fits into society."

"For my series, Wait Watchers, I set up a camera in a heavy-traffic, public area and take hundreds of photographs as I perform mundane, everyday tasks as people pass by me. I then examine the images to see if any of the passersby had a critical or questioning element in their face or in their body language. I consider my photographs a social experiment and I travel the world in an attempt to photograph the reactions of a diverse pool of passersby."
 
"I seek out places that are beautifully lit, allow for an interesting composition and, if possible, set up a scene that references ideal feminine beauty and societal expectations. I put the camera on a tripod, bench or with an assistant, in full view of the by-passing gazer, set the focus and exposure and take hundreds of photographs."

"The images capture the gazer in a Cartier-Bresson, microsecond moment where the shutter, the scene, my actions and their body language align and are presented to the viewer. While I do not know what they are thinking, the gazer appears to be visually troubled that I am in front of them."