Juxtapoz Magazine – Taken From Memory: 25 Years of Photographs by Sheron Rupp

Taken From Memory is the result of a 25-year long-time project by American photographer Sheron Rupp. Searching for connections to her own biographical past, Rupp took these photographs in rural America looking to find a piece of someone elses life to give her a sense of belonging.

Denis Defibaugh: North by Nuuk, Greenland after Kent | LENSCRATCH

Projects featured over the next several days were selected from our most recent call-for-submissions. I was able to interview each of these individuals to gain further insight into the bodies of work they shared. Today, we are looking at the series North by Nuuk, Greenland after Kent, by Denis Defibaugh.

Hannes Jung – How is life? « burn magazine

My story “How is Life?” is not just about photography. I worked together with the protagonists and asked them to write down their personal story. These statements (see the captions) are an essential part of this project.

I photograph life not death because death cannot be seen. Maybe you can’t take pictures of the wind. But you could try to catch the consequences of the wind, bending trees and rolling waves.

Juxtapoz Magazine – Interview: Shane Lavalette’s Photographic Journey Across Switzerland

American photographer Shane Lavalettes latest project, Still (Noon), is a photographic journey across Switzerland and meditation on history and the transformative power of time. Invited to participate in a group exhibition titled “Unfamiliar Familiarities. Outside Views on Switzerland,” Lavalette dove into the archives of Swiss photographer Theo Frey (1908-1997), uncovering unexpected connections with his own work and ultimately using a 1939 journey of Freys as a starting point for his project. Travelling to the same twelve villages that Frey did, he found himself reflecting on the constantly evolving meaning of photographs. “I considered the ways in which Freys photographs have different implications now than the day that they were made,” Lavalette explains, “and how the meaning of my own images will undoubtedly transform with age as well. Photographs, I realized, are much like mountains. Though we think of images as fixed and still, what we see in them is always shifting, however slowly, with time.”

A journey to the frontlines of the fight for animal rights – Feature Shoot

The photojournalist Aitor Garmendia stands outside a farm in Italy, accompanied by investigators from the animal rights group Essere Animali. Inside, there are thousands of pigs, all bred and raised for meat. It’s the dead of night. All is silent. There are guards inside. “You have one minute,” the investigation coordinator tells Garmendia. He slips inside, turns on the light, and photographs what he sees.

Announcing the Winners of #ThePrintSwap Show at FOLEY Gallery in NYC – Feature Shoot

Feature Shoot’s worldwide project The Print Swap will return to Manhattan for our summer exhibition at the renowned FOLEY Gallery. Opening for one night only on July 23rd, this show features thirty photographs, each selected by the gallery owner Michael Foley himself. FOLEY Gallery is a perfect setting to showcase work from the global Print Swap community. The show will feature talented artists based in the United States, Brazil, England, Italy, Croatia, Spain, France, Germany, Sweden, the Netherlands, and Japan.

Juxtapoz Magazine – ‘Found’: Unpublished Photographs From National Geographic

National Geographic published its first issue in 1888, over 130 years ago. This is an incredible timespan for any publication, but you have to wonder where does all the content go? To honor their 125th anniversary National Geographic released Found, a curated collection of photography from their archives. Much of the collection had never been published or seen by the public!

The Artist Hijacking Photographic Clichés to Explore Gender Stereotypes – Feature Shoot

Canadian artist Sara Cynwar takes aim at popular photographic clichés in her new exhibition, Gilded Age, on view at the Aldrich Contemporary Art Museum in Ridgefield, CT, through November 10, 2019. Featuring a selection of the artist’s color photographs made over the past five years, the exhibition also includes Kitsch Encyclopedia (2014) her first artist book; Cover Girl (2018), a 16mm film on video with sound; and 72 Pictures of Modern Paintings (2016), a site-specific wallpaper.

Dominik Dunsch: Suburbia | LENSCRATCH

The genre of family continues to be explored as photographers mine their lives, looking at those under the same roof as a way to understand and document those near and dear. Dominik Dunsch’s project Suburbia documents the every day, using family and place to understand his own life as he exists between generations in the middle ground of what is and what was. It’s a series of details and metaphors, the intangible bumping up against the real, snippets of humor and absurdity and beauty all combining into this thing called life.

Tseng Kwong Chi, an “Ambiguous Ambassador” to Life in America | The New Yorker

On an evening in December, 1980, the photographer Tseng Kwong Chi gate-crashed the party of the year: the gala at the Metropolitan Museum of Art. It was the opening night of “The Manchu Dragon,” an exhibition (organized by Diana Vreeland) of Chinese costume from the Qing dynasty. Tseng used a medium-format camera to photograph the arriving guests. An era’s tony milieu pauses, flash-lit: an amused Yves Saint-Laurent, Halston in high spirits, a quizzical William F. Buckley. Nancy Kissinger turns up in the same Adolfo dress as two other women—but nobody looks embarrassed. Tseng himself is also in the pictures, grinning away beside his subjects, with a cable release in his hand. And he is dressed, as he frequently is in his dandy-conceptualist art, in a plain gray “Mao suit,” which reads here as a laconic visual rejoinder to the exhibit’s lavish Orientalism.

John Sanderson: Carbon County | LENSCRATCH

At first glance John Sanderson’s series of images, entitled Carbon County, has the familiar cadence of American Western documentary photography. Broad sweeping landscapes with horizons that seem worlds away, lonely snaking roads and rugged men on horseback. But very quickly these perceived pillars of American Western identity, the keystones in the story we tell ourselves about Western life, take a different shape. There is a tone of mythology in the gaze Sanderson casts upon his subjects as he attempts to merge the fantastic nature of American Western lore with the reality of the place. So many of his photographs are made through the window or dashboard of a car, a framing which begins to feel like it contains a still from an old Western movie. And isn’t that how we most often experience this landscape? Either in film or traversing the country across wide open highway, snapping photos of some road signs or an old windmill and then carrying on our way? I ask myself these questions and then begin to wonder whether I’m allowing the version of the West that exists in my own mind to be projected onto the imagery. And perhaps this is the point. Sanderson presents us with the truth and the fantasy all at once as he explores the narratives ingrained in us – American Frontierism, Cowboys and Indians, and the promise that as you continue West surely wealth and personal discovery would be bestowed.

Sam Gregg documents the true story of Naples – Feature Shoot

Whether its the slums in Klong Toey, Bangkok, or Britain filled with “greasy spoons” and “pie and mash shops”, London-based Sam Gregg is a portrait and documentary photographer drawn towards capturing marginalised and dispossessed communities.

Celebrating “The Sweet Flypaper of Life” in Roy DeCarava’s Centennial Year – Feature Shoot

“We’ve had so many books about how bad life is, maybe it’s time to have one showing how good it is,” Langston Hughes said of The Sweet Flypaper of Life, his landmark art book collaboration with Roy DeCarava recently republished by David Zwirner Books.

11 – INTERNET K-HOLE

Muhammad Hidayat – The Sounds Of Dream « burn magazine

In that dream they came like shadows, voices, songs, light and gasp, they were so close, even closer than the clothes I wore. I felt like I was back to the beginning where I was walking alone in the middle of a crowd and felt cold in the middle of the blazing heat. Those dreams were so real and so clear that it made me constantly think about them.