10/27/10

FotoWeek DC

I'm happy to report that one of my photographs will be in the upcoming FotoWeek DC Night Gallery program as part of 100 Portraits-100 Photographers curated by Andy Adams of FlakPhoto and Larissa Leclair curator extraordinaire--a big thanks to both! Images will be projected across architecture in Washington, including The Corcoran Gallery of Art, the Holocaust Memorial Museum and the Newseum. More details on the festivities can be found here and here

10/21/10

End of a dry spell?

Bodies are gross--here in my house we just finished dealing with a common childhood parasite that's haunting my dreams (trust me, you're better off if I spare you the details. I'll only say this: it's not due to a lack of hygiene--i.e., we're merely innocent bystanders). Bodies are mean--I found out this morning that a friend has breast cancer; there's no word yet on her prognosis so I'm hoping for the best, but it's scary and sad and I keep thinking about her two little boys. It's unsettling to be at a point in my life when the probability is higher that friends will become sick. People live longer now than they used to I know, but today I feel like mortality is staring me in the face and I'm occupying a slightly alternative reality.

I've also felt the pressures of domesticity quite acutely lately, not that it's a new topic. Still, a good amount of my conversations with friends seem to be centering on the crushing weight of laundry, on how two minutes after straightening up a room it's torn apart. I'm getting better at letting go of general neatness, but as winter approaches and we'll be shut in more a clean house feels like something to aspire to. Keeping up with it all is actually part of the reason I haven't been posting much recently.

A few days ago I finally shot a little--June is a performer and an active participant now in the photographic process, wanting to see every image after I take it, and always saying "one more!" Being a a bit creative again after a dry spell feels good, like progress.

10/14/10

Jonathan Blaustein on the NY Times LENS blog

© Jonathan Blaustein

Great article about Jonathan Blaustein's "The Value of a Dollar" series on the New York Times LENS Blog; check it out here.

10/8/10

Women in Art Photography UK


Tess Hurrell,
 Chaology no. 1, 2006, 20 x 24 in., silver gelatin print, Ed. 4/8

If you happen to be in the UK stop by and check out Humble Arts Foundation's latest endeavor. I love the image above--there's some very interesting work by Tess Hurrell, see more here. All the info you need can be found in the press release below:


Women in Art Photography U.K.

CURATED BY JON FEINSTEIN & AMANI OLU
Private view: Thursday, October 14, 6 PM On view: Thursday, October 14 – Saturday, November 13, 2010 

MUSIC BY COZETTE
TASCHEN Store London 12 Duke of York Square 
London, SW3 4LY
 
Hours: Mon, Tues, Thurs, Fri 10 AM – 6 PM; Wed & Sat 10 AM – 7 PM; Sun 12 – 6 PM 
Exhibiting photographers: Natasha Caruana, Noemie Goudal, Alicia Hart, Tess Hurrell, Emily Keegin, Karen Knorr, Agata Madejska, Zoe Maxwell, Laura Pannack, Regine Petersen, Sarah Pickering, Dana Popa, Clare Strand, Emma Weislander, and Tereza Zelenkova

TASCHEN and Humble Arts Foundation are pleased to present 
Women in Art Photography U.K., curated by Jon Feinstein and amani olu. Similar to its American counterpart, this exhibition attempts to avoid a decidedly “female” voice and instead presents the work of a stylistic variety of women photographers based in the U.K. The photographs in this exhibition transcend rigid categorical distinctions, and can easily fall across multiple genres within art photography. This ranges from constructed studio works to pictures that explore or comment on traditional notions of portraiture, still life, and landscape photography. Agata Madejska transforms everyday playgrounds into jarring, outer space sculptures, Laura Pannack transcends preconceived notions of youth culture in her tense, uncomfortable portraits of adolescents, and Sarah Pickering’s images of controlled test explosions explore the vulnerability of everyday life during wartime, and the construction of military preparedness. By placing a variety of styles and influences in the same context, the curators encourage viewers to draw abstract relationships between the works and challenge their own notions of what it means to photograph as a woman in the contemporary landscape.