Thinking of Richard Misrach’s new digital “negative” photographs at Pace (which differ from the serine but critical view of Americana) , what criteria do we apply when an artist comes up with a new body of work that is vastly different for what they’re known for–my temptation is be critical but should we just judge them on their own merits? There are two photographs that I love at the show because they look beyond photographic; the others seem negative-ized.
Interesting new take on book distribution: a blog to aid the distribution of dyi books & zines.
Jorg states it like this:
The idea behind The Independent Photo Book is simple: You email us the information about your independent photo book or zine – following the guide lines outlined on the blog – and we’ll create a post with the information about it. No selection – we post whatever we get, as long as it’s an independent photo book or magazine.
Let me stress that the idea behind the blog is to allow people to not only find out about the book/zine, but also to buy it. So if your book/zine can’t be bought, we won’t list it. And of course it’s great if your book or zine can be bought at Walter’s Mom and Pop Bookshop in St. Middleofnowhere, but that doesn’t help anyone – so you need to send us the link to a page where people can buy the book online.
From the PhotoBook blog:
Generally:
- We only accept announcements about existing print books or zines (strictly no fundraisers)
- no repeat announcements or “special offers” or “30% off” sale announcements
- we only list books or zines that cannot be bought via Amazon.com (or any other Amazon or internet book seller), or actual (chain) book shop – specialty/photo shops such as Schaden or Dashwood, of course, are perfectly fine.
http://thephotobook.wordpress.com/2010/01/07/the-independent-photo-book/
Someone recently complained about the term “emerging photographers,” and questioned the word, “emerging” as well as ”photographer.”
A photographer captures still images and presents those as prints or more recently digitally. I’m not sure how the photographer’s role has–or will–change. Actually, I think “emerging” is the term more likely to fall by the wayside as camera devices continue to be ubiquitous and introduces a newer role that is far more ingrained in daily life and popular culture than the snap shot ever was.
http:// www.stevegiovinco.etsy.com
Original Digital Photograph, Framed, 2×3″
Original and jewel-like these diminutive framed photographs have an intimate and precious feel. I carefully print and archivally assemble each artwork, which come ready to hang. These photographs are from a series of mysterious night landscapes; the larger prints have been exhibited in New York, London, and Torino.
The gritty black and white photographs seem to represent a different era in photography where direct but poetic observation was the “trend”. Reading the draft Guggenheim proposals were a highlight and was surprised that some vintage prints were so large.
When Robert Frank was a visiting artist at Yale, I thought it odd when he left the room when we played the video of his son Pablo, but that stuck with me–the idea that recording something emotional might be too much even for the artist, and this act photographing does not render powerful moments numb.
When I first saw his work at Graduate School I was shocked by Larry Sultan’s poignant, personal photographs and were like nothing I’ve ever seen before at the time. His influences, I realize, stretch out to many artists, including my own. A month ago I looked at a photograph from the Valley series at MoMA and loved how he took charged moments–living family memories, the sex industry–and made it quietly personal. I am glad to be included in a group exhibition with Larry Sultan years ago at the Weatherspoon Museum.
Auction now until 8pm, EST:
Check out BOMBlog for an interesting poem–and one of my nightlandscapes. http://bombsite.powweb.com/?p=6574
Mike Bayne’s diminutive paints at Katharine Mulherin
George Kuchar at ADA, Richmond
Carolina Ambida at Opus, Newcastle
Scott B Davis at Hous Projects
Nice to see older work by Andrea Modica and David Graham at 339 Gallery as well as large color portraits by recent Yale graduate, Sarah Stolfa.
At Howard House were paintings and striking collages by Robert Yoder.
At Eleanor Harwood were several large paintings by James Chronister of woods.
Mysterious black and white post-card sized paintings by Elizabeth Livingston were at Alpha Gallery where a stand out for me.