Link: https://leica-camera.blog/2023/10/23/calm-before-the-storm/
The photo book, ‘Calm before the Storm. How we lived at normalization. Photos from the 70s and 80s’, by Czech photographer Jaroslav Kučera, is an impressive testimony to the decades known as “normalization”.
In her debut photobook, Dormant Season, from Charcoal Press, Erinn Springer returns to her roots in rural Wisconsin to photograph a familiar but evolving agrarian landscape. Set against the stark winter terrain, Springer leads us to witness the raw contrasting realities of modern Midwest life, a realm where past and present intertwine with fleeting moments
via LENSCRATCH: http://lenscratch.com/2023/10/erinn-springer-dormant-season/
Going home always felt like opening a time capsule. Certain things had changed like friends moving or neighborhood homes being remodeled but my immediate family all lives as they did when I was a kid. I think recent events had made me realize that this, too, would inevitably change, so I wanted to be present to document whatever I could. The camera was able to translate my emotions and my perception of the atmosphere in a way that was perceivable to others
This week, we will be exploring projects inspired by place. Today, we’ll be looking at Edwin Averette III’s series The American Family Cemetery. Edwin Averette III was an undergraduate photography student while I was at East Carolina University. He was one of the most hardworking and dedicated students. I heard a story where, during a hurricane,
via LENSCRATCH: http://lenscratch.com/2023/10/edwin-averette-iii-the-american-family-cemetery/
For years I met with individuals that were generations older than myself. They showed me their family photo albums. Within those albums were family portraits of every generation of the family. This body of work highlights the American Family Cemetery as the surviving entity of the generations before us in this Eastern North Carolina landscape. They are constructed environments in everchanging context through interactions during and after the remaining persons were reposed. These burial grounds are essentially their own family portrait, not of just one generation, but all of them.
Tamara Reynolds is a documentary photographer born and raised in Nashville, Tennessee who exhibits her work nationally and internationally. She will be returning as a visiting Lecturer to Vanderbilt University in Nashville for the spring semester of 2024. Reynolds began her career as a commercial photographer for 25 years. Although very successful, over time she
via LENSCRATCH: http://lenscratch.com/2023/10/tamara-reynolds-xx/
In her project The Drake, she photographed one square block located a mile from downtown Nashville, documenting over time the people who live within the shadows of hidden cycles of addiction as well as social and economic marginalization. Her work continues to shed light on the world in which we live with a deeper and more compassionate understanding
The Center for Photographic Art, in conjunction with PhotoLucida, is pleased to announce the 2023 Critical Mass Solo Exhibition Award. This year’s recipient is Landry Major. The artist will be exhibiting a large selection of gelatin silver prints from her long-term project, Keepers of the West and will be on the walls of CPA through
via LENSCRATCH: http://lenscratch.com/2023/10/landry-major-keepers-of-the-west/
My ongoing series Keepers of the West took me back to fields at dawn, this time on the family-run ranches of the American West. Visions of the West have long been central to our culture, but the way of life of the cowboy and the family-run ranch is fast disappearing.
This week, we will be exploring projects inspired by place. Today, we’ll be looking at Anna Reich’s series This Land: Landscape, Memory, and Identity on the Plains. Sioux Falls, South Dakota, has a small but spirited art community. Anna Reich is one of th
via LENSCRATCH: http://lenscratch.com/2023/09/anna-reich-this-land/
My artistic practice is based on the belief that the process of creating a visual record is as valuable as the existence of one. I use the camera as a tool to translate experience and meaning, often being both celebratory and critical of photography. Much of my work from the last ten years has been socially engaged; first, investigating issues relating to cultural trauma and post-traumatic stress and second, questioning the use of land and development of unsustainable communities in the western half of the United States.
The jarring juxtapositions of Jamie Lee Taete’s collection showcase the sometimes fine line between gimmickry and genuine belief.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/the-playful-and-provocative-images-of-christian-tourism
It was a billboard in Branson for “Noah” that caught the British photographer Jamie Lee Taete’s eye, with the patriarch’s name floating beside his gopher-wood vessel, both framing some relevant, if irreverent, information: “back for one season only!”
Benjamin Briones Grandi‘s sleek series of photomontages, Memories, transforms Chile’s awe-inspiring geography into surreal dream works that speak to the profound spiritual essence of the natural world. From lush forests to arid deserts, the Chilean photog
via LENSCRATCH: http://lenscratch.com/2023/09/benjamin-briones-grandi-memories/
Benjamin Briones Grandi‘s sleek series of photomontages, Memories, transforms Chile’s awe-inspiring geography into surreal dream works that speak to the profound spiritual essence of the natural world
This week we are looking at the work of artists who submitted projects during our most recent call-for-entries. Today, Mark Kitsawaeng and I discuss Forgotten Space. Phanuphan (Mark) Kitsawaeng is a photographer from Thailand, currently living in Los Ange
via LENSCRATCH: http://lenscratch.com/2023/09/mark-kitsawaeng-forgotten-space/
Forgotten Space is a set of photographs of children who were photographed around their homes: including the living rooms, playgrounds, and backyards. In showing the environment that is around them, the viewer sees that which the children have seen is ordinary, but of course, is not at all
This week we are looking at the work of artists who submitted projects during our most recent call-for-entries. Today, Christine Back and I discuss PV Revisited. Christine Back is a New Jersey-based photographer and educator who grew up at the Jersey Shor
via LENSCRATCH: http://lenscratch.com/2023/09/christine-back-pv-revisited/
I also shared the growing series of alumni diptychs and many wished they could have gone to high school before cell phones, laptops, and social media. They settled for posing in front of my moldy, taped up Hasselblad. After the valued, yet frustrating experience of being beholden to source images, I found the freedom of shooting without those constraints immensely refreshing. I had to laugh though when most of them said they’d be back in ten years for me to shoot them again. I don’t know if I’ll be around that long, but I’ll try to hang in there until they get out of college or the army.
This week we are looking at the work of artists who submitted projects during our most recent call-for-entries. Today, Virginia Villacisla and I discuss Presencio & The Rural Kids. Virginia Villacisla was born in Burgos, a medium-sized town in northern Sp
via LENSCRATCH: http://lenscratch.com/2023/09/virginia-villacisla-presencio-the-rural-kids/
Virginia’s personal experiences and the contrast between her rural upbringing and city life inspired her project, ‘Presencio & The Rural Kids.’ This project captures how young people interact with the rural areas they inherit from their parents. Virginia’s work has won awards in photography competitions and been featured in photography festivals and exhibitions across Spain. It has also been published in magazines like EXIT and newspapers like El País Semanal.
Turning his lens on people who have chosen to live in remote Poland, Mateusz Kowalik’s award-winning book explores the lure of the wild and the tensions that arise when one turns their back on the comforts of modernity
via LensCulture: https://www.lensculture.com/articles/mateusz-kowalik-devil-s-rib
Turning his lens on people who have chosen to live in remote Poland, Mateusz Kowalik’s award-winning book explores the lure of the wild and the tensions that arise when one turns their back on the comforts of modernity.
Drawing inspiration from Fellini and Pasolini, Sam Youkilis finds a seductive—sometimes humorous—vision of “la dolce vita.”
via Aperture: https://aperture.org/editorial/la-dolce-vita-according-to-sam-youkilis/
Drawing inspiration from Fellini and Pasolini, the photographer finds a seductive—sometimes humorous—vision of Italy.
I was thrilled to see Liz Albert’s name on my line-up for the New England Portfolio Reviews as we had previously shared her project, Family Fictions and I am a fan of her work. She shared a new collaborative project with me, Instant Classic, created with
via LENSCRATCH: http://lenscratch.com/2023/09/liz-albert/
In my latest project, Instant Classic, my collaborator, Shane VanOosterhout, and I have been sleuthing and acquiring anonymous Polaroids circa 1960-2000. Discarded photo albums, shoeboxes packed with forgotten snapshots; images lost beneath decades of clutter. Years ago, our subjects showed up for a Christmas party, a romantic encounter, 10th-grade geometry. Responding to cues from what we perceive in these Polaroids, we add poignant and humorous phrases from our personal journals and recent conversations – inner thoughts we imagine the individuals and their observers may be thinking and feeling.
A retrospective in London showcases the brilliance and breadth of the photographer’s sensitive portraiture.
via Aperture: https://aperture.org/editorial/evelyn-hofers-tender-gaze/
A retrospective in London showcases the brilliance and breadth of the photographer’s sensitive portraiture.
William Camargo’s photographs confront the city’s racist past, provoking controversy in the present.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/unearthing-the-history-of-anaheim
William Camargo’s photographs confront the city’s racist past, provoking controversy in the present.
Following in her grandfather’s footsteps, the photographer Sarah Wilson digs for fossils in the West Texas desert.
via Feature Shoot: https://www.featureshoot.com/2023/08/in-the-footsteps-of-her-grandfather-an-artist-digs-for-fossils/
The photographer Sarah Wilson’s grandfather, Dr. John A. Wilson, was a paleontologist whose work took him to some of the most remote and rugged landscapes of the West Texas desert. About a year before he died, he gifted her with three boxes, filled with the Kodachrome slides he’d made during digs throughout the 1960s, ’70s, and ’80s, and used during his time as a professor at the University of Texas at Austin.
When the pandemic came, Becky Wilkes moved her enfeebled mom and dad into her own home. Her series “Till Death Do Us Part” documents that time.
via The New Yorker: https://www.newyorker.com/culture/photo-booth/a-photographers-frank-tender-portrait-of-her-parents-final-year
When the pandemic came, Becky Wilkes moved her enfeebled mom and dad into her own home. Her series “Till Death Do Us Part” documents that time.
Adam Rouhana’s images oscillate between moments of beauty and scenes of colonization, providing an intimate view of life under Israeli occupation.
via Aperture: https://aperture.org/editorial/the-photographer-searching-for-freedom-in-palestine/
Adam Rouhana’s images oscillate between moments of beauty and scenes of colonization, providing an intimate view of life under Israeli occupation.