Just a quick post today. I arrived a bit late in the day but I was able to catch the lecture by Lucy Lippard. Really inspiring to listen to as she tied together work of a lot of great photographers like Robert Adams, Joe Deal, Amy Stien... just to name a few of many. Hopefully her talk will end up somewhere on the SPE website. It would definitely would be worth a read if it did.
More to come tomorrow. If you're around make sure you drop me a line and maybe we can connect.
Cheers
So I've been a terrible blogger as of lately but there are a couple of things I wanted to post real quick. A good friend of mine Christin Boggs is having a show at the RRCDC: Rochester Regional Community Design Center. The opening reception is 6 - 9 Friday, October 01, 2010
From brief excerpt from the release:
"Slow & Steady, a thesis exhibition by Rochester Institute of Technology’s Masters of Fine Arts candidate Christin Boggs, examines the contemporary movement away from mass-produced foods in a return to traditional modes of food production and preparation. Photographs depict scenes from community gardens, Community Supported Agriculture (CSA) farms, and farmers markets within the greater Rochester region."
If you're in the area, try and get out and see the work.
I unfortunately won't be able to make it because I am pretty far from RIT but a show I will be attending is one at the Fire Barn Gallery in Grand Haven, MI.
Victoria Veenstra is having a show from September 22 - October 9th 2010. With the opening reception tomorrow night (Sept. 22) from 6:30 - 8pm, everybody come out and see the work!
Here's the address:
The Fire Barn Grand Haven, MI 18 N 5th St Grand Haven, MI 49417
I don't have any pics for this one but I hope to see you there!
Cheers.
This was just for fun because it was extremely windy/beautiful/I had my camera. Have a good weekend.
Gale Force Winds on Lake Michigan from Nate on Vimeo.
Have a good one.
I have been going not stop as of lately but I'm glad I took 5min out to watch this beautiful animation that Jenn brought to my attention. It's part of the StoryCorps movement (something I did years back in NYC, there's a permeant booth there and it's free to share a story(ies), if you're in the NYC area get on it, such an amazing project). "Danny & Annie" is one of the most beautiful things I have watched as of lately and I strongly recommend it. You'll probably want to grab a kleenex because it's pretty moving but if you have 5min... do listen.
Words fail me after watching it.
I'm Back! And again I've been working with Daylight Magazine to create a media segment for Nick Hannes titled "Red Journey" and features a selection of his images. The project itself is massive undertaking. It spans a tremendous amount of physical space and covers a multitude of cultural issues. I feel it's a extremely strong project and presents an important story. It was an again an honor to work with Daylight Magazine and Nick Hannes.
Here's a little excerpt from the site:
Belgian photographer Nick Hannes spent a year travelling through the fifteen former Soviet republics in search of traces of the past and signs of social transition. Red Journey uncovers the various ways in which former Soviet countries are trying to redefine their national identity after the disintegration of the communist imperium. Hannes shows a region of contrasts by photographing extreme wealth amid heart-rending poverty, unrestrained urban renewal that makes deprived neighbourhoods all the more visible, new dictator’s gilt cult images in a decor of faded glory.
I think it turned out great and I was happy to hear that it has been received well.
Again, like the last segment, I’m credited in the segment as “Multimedia Producer” and by movie credit standards I’m not acting as a producer. Yes, I am “producing it” and “actually making it” (sequencing it, adjusting everything that is associated with editing) but by movie, television standards I’m the producer but rather the editor. It’s an odd choice of words here but I am not the director (also in reference to it’s traditional definition, and also not used in it's most traditional form the credits, again, odd I know…). At the end of the day, I’m not in charge about how to word the credits. But I did edit this and I just wanted to note that. Also, I wanted to note that Dave Runyan was the audio engineer on the interview. I was given really rough interview audio and the fist thing I thought was, “this is unusable and needs to be worked over…” and without question thought of Dave. He’s top notch when it comes to audio so I went to him.
Also, I should say that I've been a terrible blogger as of lately but things have been insanely busy for me. Hopefully new posts and fun things will follow.
Cheers.
Many of you know I have a long history of editing and composing segments for various purposes but I hold a deep respect for Daylight Magazine and it's great pleasure to create media for them. For the last week or so I have been working with Daylight magazine, and indirectly with Will Steacy, to put together a media segment. Will is having a show at the Michael Mazzeo Gallery in New York City and the segment I recently edited is now live on the Daylight Magazine Multimedia podcast page. It's also going to be shown at the opening reception for the Michael Mazzeo Gallery. I find Will's work to be both powerful and meaningful. His photographs have an intensity that resonates though their story. His images also bring to light a national discussion about how our urban environments are evolving.
From the Daylight page:
In "Down These Mean Streets" Will Steacy wanders through battered urban areas with a wrench in his back pocket. Barney Kulok and Paul Graham come to mind when looking through these images of abandoned buildings, burned-out cars, neon signs and local residents. The city glows, strangely beautiful but vaguely threatening, as a picture of urbanity and its attendant vices - it is not a forgiving portrait. This podcast produced in conjunction with the Michael Mazzeo Gallery for Steacy's show on view June 10 - July 23rd 2010. Read an exclusive, in-depth piece about "Down These Mean Streets" at Conscientious Extended.
And you can also see the segment by clicking on the image below:
That's it for now. We'll see what makes it up later this week. Make sure you hit some of those links or watch the segment and if you're in NYC you should go to the show because I imagine that the images are pretty amazing in person. If given the opportunity, I'd check it out. Hopefully I'll get that chance.
Also, on a side note, I'm credited in the segment as "Multimedia Producer" and by movie credit standards I'm not acting as a producer. Yes, I am "producing it" and "actually making it" (sequencing it, adjusting everything that is associated with editing) but by movie, television standards I'm the producer but rather the editor. It's an odd choice of words here but I am not the director (also in reference to it's traditional definition, and also not used in the credits, again, odd I know...) thus, I'm not in charge about how to word the credits. But I did edit this and I just wanted to note that. Also, I wanted to note that Dave Runyan was the audio engineer on the interview. I was given really rough interview audio and the fist thing I thought was, "this is unusable and needs to be worked over..." and without question thought of Dave. He's top notch when it comes to audio so I went to him.
Cheers.
More to come.
So I haven't posted anything in weeks...maybe it's because I needed an unannounced impromptu vacation from blogging or maybe because I've been a bit more busy that I had expected. In either case, I've been inspired and I'm back in action. What inspired me? Ah, good question. I'm glad you asked. Check this stuff out and stay tuned for some odds and ends to come this coming week....
Cheers.
100+ miles? Yes.
and this...
@BrainFarmCinema, you should hire me.
It feels like it's taken forever to get these images up on the ole' blog but I'm glad they are now up for the world to see. I also have to send out a huge thanks to Laith and CAVE for making the show possible. It was a great turnout and everyone I met was totally into the work. These are some of the shots I grabbed of my work, Laith's and CAVE in general while walking around. If you were there and had any thoughts on the show send em' my way, I'd be interested to see what you thought. Anyway, if you happened to make it out, thanks for coming and again, thanks Laith and CAVE for a great show. It's up until the 15th so if your in the area stop by and check it out. And the images...
More to come...
So I've been busy all week with the upcoming show "Duo." If you're in the detroit area make sure you check it out! Info below...
The Details:
DUO Nate Abramowski and Laith Karmo
Cave is pleased to present DUO, a two person exhibition with Nate Abramowski and Laith Karmo, on Friday April 30th 2010. The opening reception will be from 7-11pm and the show will be up through May 15th.
In bringing these two artists together, DUO traverses time, the history of man, and the displacement of preconceptions and stereotypes. As both explore moments of reflection- exposing the imaginative and revealing vulnerability- confronting and navigating these relationships presents itself in fresh form.
Nate Abramowski received his Bachelors of Science in Film production and Bachelor of Science in photography from Grand Valley State University in Allendale, Michigan and a Masters of Fine Art in photography from Savannah College of Art and Design in Savannah, Georgia. Nate is currently working in Chicago as a photographer and editor.
Laith Karmo received a Bachelors of Fine Art from the College for Creative Studies in Detroit, Michigan, and a Masters of Fine Art from Cranbrook Academy of Art in Bloomfield Hills, Michigan. He has taught at Wayne State University in Detroit and is currently teaching at Oakland Community College in Auburn Hills Michigan.
Another quick one seening this is a pretty "action packed" Friday but there's at least a minute for a little musical distraction. This Friday it's Letting Up Despite Great Faults "Our Younger Noise". Now, you'd think after all my "tweets" about the National I'd post something by them, but(!) they don't have video yet (for their new release, High Violet).... so I thought I'd just hang back one more week to see if somthing srufaces. Besides, there is this lovely video by Christopher j Ewing (part of wested potential productions). I totally dig it. It's playfulness really matches the video. I was turned on to Letting Up Despite Great Faults awhile ago by some blog I can't remember but I'm glad that I've been loosly following them because this song + video is a gem.
Letting Up Despite Great Faults: "Our Younger Noise" from Christopher j Ewing on Vimeo.
Anyway, that's about all the time I have here. So where ever you may be this weekend may it be a fun one.
Be safe out there...
cheers.
So last year at the 46th Annual Society for Photographic Education National Conference in Dallas, Texas - the Texas Woman's University was putting together a book that called Booth 55. The book tackles the question, “How has your photographic education impacted the way you see the world in relation to the arts?” It apparently, "...book began with a vision to bring photography students together, each with a unique voice, to capture and express diverse viewpoints from universities throughout the United States..."
Which is a pretty cool idea in itself. The "Published" title of this post originates from the fact that I popped into Booth 55 to jot down my quote and have my head shot taken. Now that same quote (which I can't remember what I said) appears with the head shot in the Blurb, Booth 55 book website.
And, the book is arranged alphabetically - yours truly has an "Ab" last name so I lead the book with my quote and serious stare. Neat. If you remember stopping by Booth 55 you might want to check out the book on Blurb.
Anyway, more to come.
Cheers.
This is totally awesome because it involves photography and bikes. I dig both those things.
Men's Journal Magazine May 2010 Cyclocross Fashion Shoot from Dylan Coulter on Vimeo.
Lets just start off with a little Happy Friday to everyone. I know I've already posted on Blaudzun before but it seemed like whenever i headed for iTunes this week, I've gone straight for Blaudzun. And with a quick google search I found a video that missed last time around. Hence this second post on Blaudzun. Plus, this happens to be my blog and last time I checked I didn't have a rule that stated I can only post music once. That's good. Anyway, check it out if your a fan. I totally am.
Sadly this is a quick one today seeing I have some things to do but whatever you're up to this weekend...be safe out there.
Cheers.
Again this week I find myself lucky to have another talented photographer to feature on the blog. It's been several weeks since I first met Greg Jones but via the power of email he was nice enough to answer some of my questions this week. His style and content have a distinguished presentation that led me to want to know more about his work.
[me] It’s been awhile since we last talked about your work, I was wondering could you restate your artist statement here for myself and others reading.
[Greg] You could call these photos my own particular take on street photography, and they're heavily influenced by the Paris/New York street photography from the mid-twentieth century. Rather than capturing the single, "decisive moment" however, these photos are composites of multiple moments of a single scene stitched together into a single frame.
Outside of some contemporary artists like Jeff wall who really focus their work around the tradition of pictoralism, and Crewdson's take on narrative-driven scenes, I look a lot towards old European landscape painters like Claude Lorrain and William Marlow (among many, many others).
Those types of paintings, which show human presence within intimate landscapes and environments, touch on something that I think has become lost in contemporary art. I suppose that something has to do with our experiences in the world, and our interactions within it. Perhaps even a type of sensitivity to our condition on this planet, which is strange when you think about it. Above all else, I think what I'm trying to do is to establish a link with those old paintings to show that at the core of our experience, there really isn't all that much that has changed. You could even say that my method of working, bringing together different points in time, reflects that attitude as well.
[me] Your work contains a tremendous amount of tension in seemingly mundane environments, do you have preconceived ideas about what you would like to see and say, or is your statement on the contemporary landscape a more visceral creation?
[Greg] The photographs themselves are purely visceral. When I'm out shooting, its always just a matter of seeing and reacting. However there are things I'm always looking for, both formally (quality of light, compositional complexity, systems of spacial depth and color) and well as pictorially (character of place, activity within the scene, details). Beyond the photographs themselves, I'm always aware of the type of tradition that I'm working in. Although my methods of working fit more within the more progressive stream of photography, I never feel so far removed from all the Cartier-Bressons and the Todd Webbs in terms of intention and attitude, and those are the types of photographers that I admire.
[me] I constantly hear from people that any given city has a "dying downtown" or is "dead" after the workday, your more "city-esque" pictures seem to echo this pensive conversation, is this a particular sediment of yours or something else entirely?
[Greg] I think that's an interesting reading of the work, but I don't really see it in that vain, and its certainly not what I think about when I'm shooting. While we're on the topic of the city though, I should note that these were all shot in Rochester, NY. I think the tradition of photography in this city has done a lot to influence my work. I even have a photo in the portfolio where you can see the Kodak building in the background.
[me] In contrast, your more rural images seem to have an inherent sadness to them, is this an element I am introducing with my interpretation? Is this something others have noted or not at all?
[Greg] There hasn't been anyone who's specifically noted the inherent sadness that you see, but I certainly wouldn't argue with that. I think all art should invoke some type of emotional response, even the more conceptual based stuff. We're hard-wired to experience things emotionally before we're able to rationalize them. Without being able to feel a work of art, we would never be able to form a meaningful interpretation of it. And this is why craft is important too, because when we find flaws in a work of art, the illusion is broken and that emotional response becomes lost.
[me] Where do you hope to take this work?
[Greg] I've just begun to promote it, and I'm looking to do some gallery shows in the near future. Of course, its still developing, and I continue to surprise myself with the twists and turns that the work takes as it develops. I will have some tough decisions coming up soon in terms of where I'm going to go and exactly what I'm going to do (I'm finishing my B.F.A. in May). Right now I'm considering teaching English abroad for a year or two. I'm looking to find new environments and experiences for both my work and myself.
So there you go. I remember when I first saw the work of Greg Jones. I was really taken by it but I didn't have that much time to get into it and I'm really thankful that I had the opportunity to ask him a few questions that came to mind.
As with all artists I write or interview make sure you stop by their sites a to see more. In the case of, Greg there are quite a few more images on his site and you'll be able to get a better sense of what's going on.
Top quality all around. I just want to mention again, that if you're reading this and have some work you would like to share feel free to contact me and I'll be more than happy to get it out there for you. All you have to do is ask.
As far as today goes...I gotta post and run. Check back later for maybe a post in between here and Music Friday.
Cheers.
A little something from the archive today as it seems time is slipping away... Check back tomorrow for the interview series to continue. Tomorrow Greg E Jones has been nice enough to sit down and chat about his work. Really good stuff.
Until then...
Be safe out there...
Where did the week go?? I mean honestly. It few by. Which is good I guess. There was a post on Ryan Ball(fantastic work there), I joined twitter(which could be fun) and now we have an absolutely beautiful song/film by Hammock. If you're reading this, you have to, need to, will not regret... watching this 6 min film. I watched it, then thought about watching it again for at least a minute (there was also a wow factor in there too), then watched it again. So I spent a total of a quarter of hour watching it and I don't regret it at all because it's amazing. The original post is here. Which states:
"Breathturn" from the album "Chasing After Shadows...Living with the Ghosts" to be released on May 18, 2010. Directed by David Altobelli.
So hopefully I know what you're going to be doing for the next 6 minutes. I'm tellin' you, awesome...
Hammock - Breathturn from David Altobelli on Vimeo.
Anyway, super stoked about the album and this film gives me a lot of hope for art and the future of short films. And yes. I just watched it again (last statement to be read as: I've spent a total of at least a half an hour watching it). Amazing. David altobelli is the man and has a few more videos on his vimeo page. There's also a cool little VFX piece put to the awesomeness of M83 We Own The Sky. And while I'm at it Hammock has a Facebook page. All around, really inspired stuff.
But(!) it's the weekend so have a good one out there. I don't know where you are but it's supposed to gorgeous here so that means it's time to get outside a bit. A little run by the lake, I think so.
Be safe out there.
What a great honor to start off the week again with a featured artist. Again, I had the pleasure of meeting Ryan and discussing his work a bit in person. Furthermore, he was also kind enough to answer a few of my questions and allowing me to post the responses on the IUBlog. Ryan Ball is a really great guy making some really beautiful and inspired work. I spoke to him mainly about his series Hurry up and Wait but he has several other bodies of work up on his site so make sure you stop by and check it out. His artist statement for Hurry up and Wait:
In this photographic series, Hurry up and Wait, I am illustrating the mental struggle that one experiences during simple repetitive tasks. My interest with humans’ affinity for boredom comes from my own unrealistic lack of patients and an incessant urge to keep in motion. Repeated failures and unwavering daily routines fuel me to express bottled up frustration by creating universally accessible images.
[me] When you first started this work, when and how did you decide black and white would best communicate your idea?
I started into this work with intentions to shoot monochromatic film with the 4x5 view camera because I knew the power that certain color palates have on the emotional interpretation of art works and I wanted to minimize those variables and concentrate on lighting and tonality. More importantly, I felt that working in black and white complimented my intentions to create timeless spaces that are absent of contemporary references.
[me] Your austere environment hints at a modern world yet the notable absence of technology creates a apparent tension between what we see and what we know, can you elaborate on your choice (or a choice) of visual signifiers (or a visual signifier)?
[ryan] I chose to limit the presence of technology and instead employ physical activities to further the underlying theme of futility in my work.
The fact that technology exists to push water out of a shower head or move furniture from place to place is the very reason why it is absent in these images. Knowing that viewers will pick up on this tension will hopefully solidify the notion that my character is working against the world. This series, Hurry Up and Wait, is an exploration of human nature, touching on the idea that there is always something better around the corner and I find myself constantly taking one step forward and two steps back as a direct result of my own ambitions. This work displays an environment devoid of helpful devices which sometimes complicate life as much as they intend to simplify as we sometimes do in everyday life.
[me] Your work in the series "hurry up and wait" comes from a very personal place, the images and performance work together to create a deeply compelling series, has this led you to any new personal discoveries or in turn influenced other work in new ways?
[ryan] Working on this series has been extremely helpful in my outlook on the way I live along with putting my life under a microscope and exploring all of my frustrations and fascinations with physical activities. Having to be creative in devising counter productive problem solving techniques like in the image with the cinder block has inversely improved my productive behaviors in life. I am also more aware the creative methods of others and gaining insight on how our world is truly held together with duct tape and string. I find more and more that random objects interest me like they would interest McGyver in a life or death scenario. I was just about to mow the lawn and I fell in love with a patch of weeds.
[me] What's the current format of the series? Where can we see it?
The exhibition size is 16x20" Archival Inkjet Prints matted in 20x24" frames. About 10 images from the series will be shown in the Senior Photography Exhibition at the Enterprise Center in Ruston, Louisiana with an opening reception on April 30th at 6:30PM to 8PM. The series is also on my website ryanballart.com along with work from other projects.
Really great stuff. Again, huge thanks to Ryan for wanting to be apart of my discussion series.
More to come so check back later...
Cheers.
Things have been extremely busy behind the scenes here at IconBlog. However I came across some fantastic videos for some tunes I've been diggin' as of lately. I've got three four for today and if you have the time check out all of them. Also if you have the time scroll down the blog to see some of Christin Boggs work (or just hit the link and go to her site, you choose). Like I said earlier this week, great stuff. And check back next week for Ryan Ball's work and another q&a.
Until then here's what I've been diggin' this week, and now that I see what I'm going to post, it's all over the place...anyway, enjoy!
TWO DOOR CINEMA CLUB | SOMETHING GOOD CAN WORK
TWO DOOR CINEMA CLUB | MySpace Music Videos
Another week started and another interview to accompany it. While at SPE Philadelphia I had the wonderful chance to meet Christin Boggs. We talked briefly but I really became interested in her work. I mentioned that I was looking to write about as many people as I could and she said she would be happy to answer some of my questions. But first a little background from her website:
A native of Northern Virginia, and alumna of George Mason University's Art and Visual Technology program, Christin has been studying photography since her sophomore year of high school and is currently pursuing a Masters of Fine Art at Rochester Institute of Technology. Informed by the writing of such authors as Michael Pollan, Barbara Kingsolver and Wendell Berry, Christin's work is centered on a critique of the processed foods of the American diet, along with the exploration of natural eating habits.
Q&A
[Me] As a life long vegetarian i have a particular interest in food, where did your inspiration for the project originate?
[Christin] I've had a long-time interest in nutrition, which was originally based on the food pyramid, a proper balanced diet, and avoidance of harmful ingredients like MSG, regardless of food origin. It's taken me a long time to figure out how to eat alternatively to the mass-production grocery store mentality. While studying photography as an undergraduate at George Mason University, I began to experiment with ways in which to address food issues in my art. Currently in my second year of Rochester Institute of Technology's MFA photo program, I have continued making work centered around food issues, which first led to "Cheap Fix," a series of five photographs replicating Dutch still life paintings. Rather than creating an exact replication, I replaced each object from the original painting with its contemporary counterpart. For example, artisan cheese and bread were replaced by Wonderbread and Velveeta Cheese and glass tableware was replaced by plastic tableware.
All of my previous food photographs dealt with a critique of the American food industry. During my first year of grad school, I read Barbara Kingsolver's book Animal, Vegetable, Miracle (http://www.animalvegetablemiracle.com/), which totally changed my way of thinking about food by introducing me to the movements of Slow Food (http://www.slowfood.com/) and local food. I began making small lifestyle changes, like baking my own bread and shopping at the farmers market. So with a background interest in food issues, the inspiration for "Slow & Steady" really grew out of a desire to meet people in the Rochester area with similar food interests and to continue learning how to eat closer to the source.
[Me] I feel there is a substantial amount of research that exists outside the images - if so, do you plan on showcasing that information?
[Christin] Absolutely, there's a lot of information contained within the project that I want to share with viewers in a few different ways. For my thesis show, in addition to the images on the wall, I am planning to have a reading area within the gallery which will have books and articles pertaining to the local foods movement, in addition to information for Rochester residents who are looking to get connected with local farmers, small-scale food producers and community gardens. I am also considering a website dedicated to the project, which would have links to a lot of my research sources. And ideally a book would be a great way to include some text about the images.
[Me] There is a particular color pallet that accompanies your images, is this something you discovered along the way or selective characteristic chose to emphasize?
[Christin] I did anticipate an overall muted color palette, because the subject matter is so close to nature, in contrast to projects like Susana Raab's "Consumed") and Brian Ulrich's < href="http://notifbutwhen.com/projects/copia/retail/">"Copia", in which photographs contain bright fast food labels. Also, I've been photographing since September, when plants were just beginning to wither and Rochester weather was becoming colder, bringing gray skies and flat lighting.
[Me] Where do you hope to take this work?
[Christin] Short-term, "Slow & Steady" will be shown in October, at the Rochester Regional Community Design Center (http://www.rrcdc.org/), as my MFA thesis show. It's exciting first to show the project within the Rochester community. But outside Upstate NY, the project acts as one example to the larger slow foods movement. The images are versatile, walking a fine line between documentary and fine art imagery, so the possibilities are wide open. Aside from showing in galleries, I'd love to see the images in print in magazines like Orion or Daylight and exhibited in public spaces such as libraries, city halls, schools, etc. After each shoot, I provide food producers with digital copies of photos and welcome them to use the images for promotional purposes, so the photos have been ending up on blogs, Facebook, newsletters, etc.
So there you have it. What a great chance to look a little closer at fantastic some work being created. I'm honored to include a discussion of this nature on this blog. As it was noted in the beginning, I'm a lifelong vegetarian, so hearing/reading the answers to some of the questions were of particular interest to me. And not to mention photographically wonderful. Make sure you check out Christin's site more more images. Her blog is first rate as well.
A little more to come this week, however things are shaping up to be on the busy side but the next interview featuring Ryan Ball, just off in the future, probably next Monday.
Cheers.
It's been a busy week on the IconBlog...from postings announcing the format change to wordpress to the release of the first artist interview featuring Daniel George...time is short indeed. I couldn't decide on a tune to post this friday because this week turned out to be pretty much "epic" in terms of fresh stuff but I did stumble across this awesome slow mo shot from BBC Two that I wanted to get out there. I'm a sucker for super slow motion photography so naturally I was taken by it. Doubly so because it deals with surfing which someday I hope to try. The whole segment makes me think of summer too and that's never bad. But check it out if you have 2 min. Someday I'll film something like this. I've got all sorts of tricksy ideas for slow mo and I know the BBC is going to call me to put those into production...right BBC? The line happens to be free, you should call now BBC. Anyway, just check the clip...
So awesome. Have a safe weekend out there.
Cheers.
UPCOMING: Look back next week for interviews featuring Christin Boggs and Ryan Ball...two artists doing fantastic work.
