[E]mpty plastic chairs and the photographs that conflate NYC urban with Texas rural suggest, even if lacking self-awareness, that adversity is universal and a rural to urban relationship has existed for a long while in America. Bleak and self-examining is in many ways, contemporary American photography. Muddy Waters by Jamie Brett wants something more—a good place to begin a journey when it is your own.
Category: Camera Reality
As much intersubjective agreement as possible. Pictures Without Words Volume 001, Issue 001 includes work by Michael Adno, Mark Albain, Eddy Leonel Aldana, Rachael Banks, Paulo Batalha, Filip Bojovic, Craig Buchanan, Ashleigh Coleman, Anastasia Davis, Paul Deville, Elicia Epstein, Jen Ervin, Conner Gordon, Natalie Krick, Sven Laurent, Devin Lunsford, Lisa McCarty, Jennifer McClure, Zora J. Murff, Ellie Musgrave, John Sanderson, Tatum Shaw, Arturo Soto, Francesco Taurisano, Adam Thorman, and Marie Wengler.
“That was really the big prize in my mind. Making photographs and recouping some of your financial losses … meant that you were reaching a big audience and that was the point of being a photographer.”
“[T]here is a momentum that accumulates and feeds movement in a certain direction, it increases in volume and amasses responses or reactions that underscore it. Then there is a period of deflation. During the deflation period the original form is intact and the idea of momentum in present, if only by reference, but the direction slightly changes to accommodate the specific set of circumstances of that time.”
“[T]o make a direct recording of the landscape would be to record everything the experience of standing there was not about, and nothing that it was about. I have no interest in a direct, “accurate” representation of nature. I am more interested in the truth of a photograph.”
Visit Kickstarter to support the photo book Phantom Power by Barbara Diener, soon to be published by Daylight Books.
If a blast began all that transpires throughout the approximate 25 years that make up Half Life, then the photographs depict uncertain forced dispersing and settling of matter in its wake.
“How much does Eggleston’s photographs inform our memory… whenever I look upon a photograph, I do so with some nostalgia for beauty and truth that might not have been if it weren’t for the photograph. The photograph as an artistic medium demands it.”
“There is a sense of longing, alienation, and isolation I want to get across in my photographs. The evening has a way of bringing out that sensation. There is beauty in the night but there is an unquestionable anxiety brought out from the darkness.”
Panas engages her subjects in After Sargent in a way that the resulting portraits suggest we know something about her subjects as well as Panas and her camera did at the time the photograph was made and if not that, then we know an intimate relationship was made between photographer, camera, and subject.
“Introducing my camera into these private environments invites my viewers to an open conversation around intimacy and power. The car is a setting that enables us to satisfy the craving to be romantically or sexually intimate. It’s a place where we can fulfill the desire for these private moments[.]”
Strant has recently updated its Submission Guidelines and its Terms & Conditions in an effort to be more inclusive of work that exists in the printed form.
Early in Fortieth Parallel is included a photograph of Humboldt Sink in Nevada with the word “NOW” etched across the smooth sloping, sun-bleached plain. The difference between the nonpermanent quality of newsprint on which the image is printed versus photographs made by O’Sullivan to be included in a photographic archive is not lost while looking at this photograph and I consider what in fact it means to live in the present.
“Who hasn’t entertained the idea of living alone, free of the responsibilities of the modern day? [Eventually] I realized it was [only] the idea that was entertaining.”