Carlos & Jason Sanchez, Jari Silomäki, Jean Claude Delalande, Rip Hopkins, Trinidad H. Carrillo, Brendan George Ko, Phil Toledano, Francesco Millefiori and Daniel Glazer
You can view the issue here, or download the PDF here.
Showing posts with label Publications. Show all posts
Showing posts with label Publications. Show all posts
Thursday, February 11, 2010
Unless You Will - Issue 4 Now Online
The new issue of the online webzine Unless You Will went live yesterday and contains some really nice work. I am honored to have a selection of images from my series The Family Dig included alongside photography from:
Carlos & Jason Sanchez, Jari Silomäki, Jean Claude Delalande, Rip Hopkins, Trinidad H. Carrillo, Brendan George Ko, Phil Toledano, Francesco Millefiori and Daniel Glazer
You can view the issue here, or download the PDF here.
Carlos & Jason Sanchez, Jari Silomäki, Jean Claude Delalande, Rip Hopkins, Trinidad H. Carrillo, Brendan George Ko, Phil Toledano, Francesco Millefiori and Daniel Glazer
You can view the issue here, or download the PDF here.
Saturday, January 9, 2010
Unless You Will: Issue 03
The third issue of Unless You Will recently went live and contains some wonderful work by 5 contemporary female photographers. Among those highlighted is Exposure Project member Anastasia Cazabon. Also included are photographs by: Ieva Jansone, Mauren Drennan, Rita Maas and Heidi Romano.
Monday, December 21, 2009
01 Magazine Interview
Jeff Otto O'Brien approached me a while back in regard to doing an interview about The Exposure Project for the Canadian online project 01 Magazine. I gladly accepted and the feature is now live amidst a plethora of other engaging essays, interviews, reviews and features that comprise Issue 4 (The "Photo Issue".)
Issue 4 includes, but is certainly not limited to: interviews with Peter Sutherland, Tim Barber, Jessica Eaton and Andrew Laumann, essays by Alexander Binder and Sam Falls, a look through Noah Kalina's book collection (which features my good friend and roommate Timothy Briner's handmade Boonville monograph) an exploration of the publishing house Gottlund Verlag, and, just to make sure all the bases are covered, a review of the new Lil Wayne record.
We would like to thank Jeff again for the opportunity, it was a lot of fun!
Monday, December 14, 2009
Unless You Will
The second issue of Unless You Will, a relatively new online photographic journal, is now available for download. Amassing the work of Nicolas Hughes, Jonathan Blaustein, Daniel Freytag, Benjamin Norman and Andrés Marroquín Winkelmann, Issue 2 possesses some really nice work and a simple, yet sophisticated design. Their mission statement reads:
"Unless you will, curated and founded by Heidi Romano, is an online journal that showcases a vision within photo-based art. Our goal is to bring together a collection of notable photographers from around the world and present their work.
Sometimes a photo can evoke high feelings of emotion or nostalgia and in a roundabout way it becomes a means of expressing ourselves as photographers. UYW strives to showcase photographers who add layers of meaning and capture these feelings. Their images are a happiness measurement, they give us pleasure, rekindle a memory, or trigger other emotions of their own. Our aim is to showcase these talented artists without too many frills, who work with the notions of play, honesty and craftsmanship."
"Unless you will, curated and founded by Heidi Romano, is an online journal that showcases a vision within photo-based art. Our goal is to bring together a collection of notable photographers from around the world and present their work.
Sometimes a photo can evoke high feelings of emotion or nostalgia and in a roundabout way it becomes a means of expressing ourselves as photographers. UYW strives to showcase photographers who add layers of meaning and capture these feelings. Their images are a happiness measurement, they give us pleasure, rekindle a memory, or trigger other emotions of their own. Our aim is to showcase these talented artists without too many frills, who work with the notions of play, honesty and craftsmanship."
Thursday, October 22, 2009
Andrew Phelps' Not Nigita
The most recent issue of Ahorn Magazine features an interview with Andrew Phelps which centers around his new project Not Nigita. In addition to highlighting a selection of the images, the piece presents an interview with the artist - an excerpt of which can be found below:
Ahorn: In the preface of the book you say that the work is about “not understanding Niigata”. Everything, every photograph, under this light, seems to represent a “No-Where”. You were able to collect stories about Niigata, but what did you see in these photographs about the real Niigata and what is, on the other side, the fictional part of the story you built?
Andrew Phelps: The term “No-Where” is an important one for me when I think of my photographs on a formal level. It is a combination of a certain lighting, film, paper etc that tends to lend a bit of a stage-like quality to the images. I think this is very important for my work to lift the subject/landscape out of its normal context, almost as if all of the images were made in one shooting, in one studio, with one lighting set up. This type of work is anything but objective. It is a very subjective way of working but has disguised itself as “documentary” through its style. There is no smoke or mirrors, but who and what I choose to photograph, and more importantly, who and what I DON’T photograph, or decide to leave outside the frame, is very important. It is a very egoistic way of working. I’m not there to tell the story of Niigata, though that is what is expected of me as a photographer. The title alludes to my skepticism of this assumption that my camera will tell the truth about a place. I found myself trying to make my HIGLEY images in this place that was very foreign to me and I realized I would and could never understand a culture through photographing it, so I made that interesting cultural gap my subject.
Ahorn: There is a feeling that connects the books you’ve made in these last years: Higley, Baghdad Suite, and now Not Niigata. The city is always a place where we have to think intensely about what is happening around us. We have to stop, look at that photographs, and think about what those cities are, what they represent. In Higley we can see the new side, development of the American Southwest. In Baghdad Suite we ‘re trying to believe that one day the phoenix will be born again and rise from the ashes. And what is Niigata? The atmosphere seems quite meditative.
Phelps: It is for sure that my work in Niigata can’t be as complete and rounded as a series like HIGLEY which took years to make in a place that was once my home. NOT NIIGATA would have been worked to death and probably been useless if I had traveled there time and time again as I did in Higley,AZ. NOT NIIGATA is all about the brief encounter as a traveler, passing through, always lost and illiterate. I think the feeling you mention is one of slowing down the pace with which we usually move through such places. When I decide to set up the camera, it is a slow process and there are no snap-shots to speak of. I am the first to admit that my photographs seldom jump out and grab ones attention right away; they seem even a bit boring at first, so thanks for using the word meditative, that sounds nicer! With the camera, I have the excuse to slow down and stare at something mundane, which in the case of Niigata, is often simultaneously something exotic."
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
Ahorn: In the preface of the book you say that the work is about “not understanding Niigata”. Everything, every photograph, under this light, seems to represent a “No-Where”. You were able to collect stories about Niigata, but what did you see in these photographs about the real Niigata and what is, on the other side, the fictional part of the story you built?
Andrew Phelps: The term “No-Where” is an important one for me when I think of my photographs on a formal level. It is a combination of a certain lighting, film, paper etc that tends to lend a bit of a stage-like quality to the images. I think this is very important for my work to lift the subject/landscape out of its normal context, almost as if all of the images were made in one shooting, in one studio, with one lighting set up. This type of work is anything but objective. It is a very subjective way of working but has disguised itself as “documentary” through its style. There is no smoke or mirrors, but who and what I choose to photograph, and more importantly, who and what I DON’T photograph, or decide to leave outside the frame, is very important. It is a very egoistic way of working. I’m not there to tell the story of Niigata, though that is what is expected of me as a photographer. The title alludes to my skepticism of this assumption that my camera will tell the truth about a place. I found myself trying to make my HIGLEY images in this place that was very foreign to me and I realized I would and could never understand a culture through photographing it, so I made that interesting cultural gap my subject.
Ahorn: There is a feeling that connects the books you’ve made in these last years: Higley, Baghdad Suite, and now Not Niigata. The city is always a place where we have to think intensely about what is happening around us. We have to stop, look at that photographs, and think about what those cities are, what they represent. In Higley we can see the new side, development of the American Southwest. In Baghdad Suite we ‘re trying to believe that one day the phoenix will be born again and rise from the ashes. And what is Niigata? The atmosphere seems quite meditative.
Phelps: It is for sure that my work in Niigata can’t be as complete and rounded as a series like HIGLEY which took years to make in a place that was once my home. NOT NIIGATA would have been worked to death and probably been useless if I had traveled there time and time again as I did in Higley,AZ. NOT NIIGATA is all about the brief encounter as a traveler, passing through, always lost and illiterate. I think the feeling you mention is one of slowing down the pace with which we usually move through such places. When I decide to set up the camera, it is a slow process and there are no snap-shots to speak of. I am the first to admit that my photographs seldom jump out and grab ones attention right away; they seem even a bit boring at first, so thanks for using the word meditative, that sounds nicer! With the camera, I have the excuse to slow down and stare at something mundane, which in the case of Niigata, is often simultaneously something exotic."
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
From "Not Nigita"
© Andrew Phelps
Wednesday, October 7, 2009
Website Update
Fellow Exposure Project member Anastasia Cazabon recently updated and redesigned her website. You can find new work from her series' From The Secret World and Stories. Anastasia's work was also prominently featured in the new Italian magazine Zettelkastchen. In fact, the inaugural cover image (below) was taken her Stories series! The publication's mission states:
"ZETTELKASTCHEN is a Magazine based in Italy about Festivals, Filmmakers, Photographers, Contemporary Art, Music, Design, and promotes Interactive Art Projects that are open to anyone. Besides presenting the most innovative and attractive artistic work, ZETTELKASTCHEN Magazine aims to foster a community of creative people."
Friday, September 18, 2009
There are only 3 days left...
to submit entries for out "End of Summer" book giveaway. Anyone interested in sending over an image or two for consideration needs to do so no later than Monday, September 21st @ 11:59pm. Details below:
"Wet n' Wild Aquatic Theme Park, Orlando, Florida, September 1980"
© Joel Sternfeld
"To be considered, we are asking that people submit one characteristically, summer-inspired image. This image can consist of whatever the artist deems most emblematic about the season. It can be an image that you've already made, or one that you create specifically for this challenge. It can be of any size, format and process, so long as it is photographically based.
After reviewing the submissions we will select our favorite summer-tinged photograph and announce a winner. The chosen image will be posted on the blog along with a corresponding interview with the photographer.
Submissions should include the image, artist's name and website URL (if available). Send entries to: ben@theexposureproject.com"
"Wet n' Wild Aquatic Theme Park, Orlando, Florida, September 1980"
© Joel Sternfeld
"To be considered, we are asking that people submit one characteristically, summer-inspired image. This image can consist of whatever the artist deems most emblematic about the season. It can be an image that you've already made, or one that you create specifically for this challenge. It can be of any size, format and process, so long as it is photographically based.
After reviewing the submissions we will select our favorite summer-tinged photograph and announce a winner. The chosen image will be posted on the blog along with a corresponding interview with the photographer.
Submissions should include the image, artist's name and website URL (if available). Send entries to: ben@theexposureproject.com"
Thursday, September 10, 2009
Blurb's "Photography Book Now" Winners Announced!
Blurb released the list of winners for their "Photography Book Now" contest today. Among the varied honorees were a number of Exposure Project contributors. Project co-founder Anastasia Cazabon's Love and Rivalry received an Honorable Mention; Issue 4 photographers Susan Worsham and Elizabeth Fleming both earned awards (Worsham a Runner-Up award in the fine art category for Some Fox Trails in Virginia and Fleming an Honorable Mention for her book Life is a Series of Small Moments). In addition, Graphic Intersections contributors Ed Panar and Irina Rozovsky also both garnered Honorable Mentions for 574 Views of Johnstown and One To Nothing respectively.
Below is the cover image of Grand Prize Winner Rafal Milach's Black Sea of Concrete:
From "Black Sea of Concrete"
© Rafal Milach
For a full list of winners, visit Blurb's website here. Also, Anastasia and I will be attending the New York Awards Ceremony and Meet-up, so if you're there say Hi.
Below is the cover image of Grand Prize Winner Rafal Milach's Black Sea of Concrete:
From "Black Sea of Concrete"
© Rafal Milach
For a full list of winners, visit Blurb's website here. Also, Anastasia and I will be attending the New York Awards Ceremony and Meet-up, so if you're there say Hi.
Friday, August 28, 2009
End of Summer Book Giveaway!
Hey Everyone,
As summer tragically draws to a close, we here at The Exposure Project have decided to host an "End of Summer" book giveaway. We will be giving away a complimentary copy of Issue 4 of The Exposure Project Book to one lucky photography-loving person.
"Ginger Shore, Causeway Inn, Tampa, Florida. 1977"
© Stephen Shore
Here's how it works. To be considered, we are asking that people submit one characteristically, summer-inspired image. This image can consist of whatever the artist deems most emblematic about the season. It can be an image that you've already made, or one that you create specifically for this challenge. It can be of any size, format and process, so long as it is photographically based.
Naturally, we will be accepting entries until the last day of Summer - September 21st. After reviewing the submissions we will select our favorite summer-tinged photograph and announce a winner. The chosen image will be posted on the blog along with a corresponding interview with the photographer.
Submissions should include the image, artist's name and website URL (if available). Send entries to: ben@theexposureproject.com
Good luck and have fun!
As summer tragically draws to a close, we here at The Exposure Project have decided to host an "End of Summer" book giveaway. We will be giving away a complimentary copy of Issue 4 of The Exposure Project Book to one lucky photography-loving person.
"Ginger Shore, Causeway Inn, Tampa, Florida. 1977"
© Stephen Shore
Here's how it works. To be considered, we are asking that people submit one characteristically, summer-inspired image. This image can consist of whatever the artist deems most emblematic about the season. It can be an image that you've already made, or one that you create specifically for this challenge. It can be of any size, format and process, so long as it is photographically based.
Naturally, we will be accepting entries until the last day of Summer - September 21st. After reviewing the submissions we will select our favorite summer-tinged photograph and announce a winner. The chosen image will be posted on the blog along with a corresponding interview with the photographer.
Submissions should include the image, artist's name and website URL (if available). Send entries to: ben@theexposureproject.com
Good luck and have fun!
Tuesday, August 18, 2009
Gigi Gatewood
I recently discovered the work of Gigi Gatewood. Her series of still lives explore how objects exist as symbolic representations of nature and human behavior. In her statement she writes:
"How does each of us come to terms with the unknown? Using photography, I am building a series of still-lives that individually symbolize different belief systems or strategies of understanding the world. Collectively, they represent an exploration of the fundamentals of religion, science, and magic. I am interested in the distinction between what we know and what we believe. I am studying replicas of natural subjects, by which we understand and represent nature. These objects are romanticized translations of reality, infused with our understandings of the world around us and with our desire to gain control over it, thus creating a space that exists somewhere between reality and the imaginary."
Gatewood's work can be seen in the PRC's inaugural Juried Publication, which will be distributed in their fall issue of In The Loupe.
"Braille Book, 2008"
© Gigi Gatewood
"Planetarium, 2008"
© Gigi Gatewood
"Mare Basalt, 2009"
© Gigi Gatewood
"Crystal Ball, 2009"
© Gigi Gatewood
"Font, 2009"
© Gigi Gatewood
"How does each of us come to terms with the unknown? Using photography, I am building a series of still-lives that individually symbolize different belief systems or strategies of understanding the world. Collectively, they represent an exploration of the fundamentals of religion, science, and magic. I am interested in the distinction between what we know and what we believe. I am studying replicas of natural subjects, by which we understand and represent nature. These objects are romanticized translations of reality, infused with our understandings of the world around us and with our desire to gain control over it, thus creating a space that exists somewhere between reality and the imaginary."
Gatewood's work can be seen in the PRC's inaugural Juried Publication, which will be distributed in their fall issue of In The Loupe.
"Braille Book, 2008"
© Gigi Gatewood
"Planetarium, 2008"
© Gigi Gatewood
"Mare Basalt, 2009"
© Gigi Gatewood
"Crystal Ball, 2009"
© Gigi Gatewood
"Font, 2009"
© Gigi Gatewood
Monday, August 17, 2009
Ye Rin Mok's Ichikawadaimon
"Ichikawadaimon"
© Ye Rin Mok
I received a copy of Ye Rin Mok's small, but endearing book Ichikawadaimon in the mail the other day. The book is comprised of quiet and thoughtful images taken while in traveling through a rural Japanese town (of the same name) last September.
I highly recommend picking up your own copy! You can do so here.
Ichikawadaimon
32 pages
8.5 x 5.5 in, full color laser
Includes one small c-print made by the artist in the darkroom
Numbered and signed
Edition of 100
"Ichikawadaimon"
© Ye Rin Mok
"Ichikawadaimon"
© Ye Rin Mok
"Ichikawadaimon"
© Ye Rin Mok
"Ichikawadaimon"
© Ye Rin Mok
Monday, July 20, 2009
Issue 4 of The Exposure Project Book Now Available!
Hey Everyone,
We are proud to announce the release of Issue 4 of The Exposure Project Book. Both regular and special edition copies are now available through the "Books" section of our website. You can view all the specific details pertaining to the release below:
Cover of Issue 4 of The Exposure Project Book
Includes photographs by Chris Bentley, Rona Chang, Daniel Farnum, Elizabeth Fleming, Lee Gainer, Matthew Genitempo, Inka Lindergård & Niclas Holmström, Natascha Libbert, Bradley Peters, Carlo Van de Roer, Daniel Shea, Manuel Vazquez, Jens Windolf, Susan Worsham and Bahar Yurukoglu
Brian Ulrich's essay "Myths and Realities, Photography Moves Into the 21st Century"
Regular Edition
68 pages, Softcover
Edition of 100
8 x 10 in.
$45 + Shipping & Handling
Special Edition
68 pages, Hardcover
Edition of 25
8 x 10 in.
$100 + Shipping & Handling
Each special edition book also include two signed and numbered 8.5 x 11 prints of the customer's choice. To view the print editions click here.
Buy one now while supplies last!
We are proud to announce the release of Issue 4 of The Exposure Project Book. Both regular and special edition copies are now available through the "Books" section of our website. You can view all the specific details pertaining to the release below:
Cover of Issue 4 of The Exposure Project Book
Includes photographs by Chris Bentley, Rona Chang, Daniel Farnum, Elizabeth Fleming, Lee Gainer, Matthew Genitempo, Inka Lindergård & Niclas Holmström, Natascha Libbert, Bradley Peters, Carlo Van de Roer, Daniel Shea, Manuel Vazquez, Jens Windolf, Susan Worsham and Bahar Yurukoglu
Brian Ulrich's essay "Myths and Realities, Photography Moves Into the 21st Century"
Regular Edition
68 pages, Softcover
Edition of 100
8 x 10 in.
$45 + Shipping & Handling
Special Edition
68 pages, Hardcover
Edition of 25
8 x 10 in.
$100 + Shipping & Handling
Each special edition book also include two signed and numbered 8.5 x 11 prints of the customer's choice. To view the print editions click here.
Buy one now while supplies last!
Friday, July 17, 2009
Blurb's Photography Book Now
Submissions for Blurb's Photography Book Now contest recently closed. In total, more than 2,000 photographers entered books into the competition. We spent some time going through all of the entries and selected some of our favorites. Click the titles below to preview the books.
"Vague Vagaries"
© Mike Fleming
"One To Nothing"
© Irina Rozovsky
"Removing Mountains"
© Daniel Shea
"What Light Remains In The Absence"
© Adam Thorman
"Lux"
© Christina Seely
"Space Between Hours"
© Elizabeth Pedinotti
"Some Fox Trails In Virginia"
© Susan Worsham
"Life With Maggie"
© Ofer Wolberger
In addition, and in the interest of shameless self-promotion, Anastasia and I submitted books as well, which can be viewed below.
"Love and Rivalry"
© Anastasia Cazabon
"The Family Dig"
© Ben Alper
"Vague Vagaries"
© Mike Fleming
"One To Nothing"
© Irina Rozovsky
"Removing Mountains"
© Daniel Shea
"What Light Remains In The Absence"
© Adam Thorman
"Lux"
© Christina Seely
"Space Between Hours"
© Elizabeth Pedinotti
"Some Fox Trails In Virginia"
© Susan Worsham
"Life With Maggie"
© Ofer Wolberger
In addition, and in the interest of shameless self-promotion, Anastasia and I submitted books as well, which can be viewed below.
"Love and Rivalry"
© Anastasia Cazabon
"The Family Dig"
© Ben Alper
Thursday, July 2, 2009
Jaap Scheeren's 3 Roses, 9 Ravens, 12 Months
I discovered Jaap Scheeren's work a while back and meant to share it earlier, but simply forgot. While checking out the preview of the new issue of Foam Magazine (one of the most interesting contemporary photography magazines in my opinion) I was pleasantly reminded of Scheeren's strange and enchanting images. I was unable to find any real description of 3 Roses, 9 Ravens, 12 Months, however, these photographs, in all subtle wonder, transcend the need for clarification. Some work loses its charisma when reduced to a defined statement; this, I can only imagine, would be the case with these images.
You can purchase the new issue of Foam here.
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
You can purchase the new issue of Foam here.
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
From "3 Roses, 9 Ravens, 12 Months"
© Jaap Scheeren
Saturday, June 27, 2009
Gerhard Richter's Overpainted Photographs
For over 20 years, Gerhard Richter has been uniting painting and photography with an ongoing series simply titled Overpainted Photographs. I recently had the chance to sit down with the monograph, published by Hatje Cantz in February, and was taken aback by the sheer volume of work contained within. Some of my favorite of Richter's painted photographs are those in which the texture of the paint mimics, or even extracts, the texture in the photograph. As Jeff Ladd of the 5B4 blog points out:
"For many photographers the image has no surface. The illusion of photography in providing a window into which we perceive literal description and dimension by Richter's hand is now disrupted due to the addition of paint. Often a tense relationship, the results run the gamut of the surreal to the beautiful to the disturbed. It is all the more surprising that each in its perceived completeness was in essence accomplished by chance and trial and error."
4. März 92 (Piz Tremoggia) (From "Overpainted Photographs")
© Gerhard Richter
9.1.89 (From "Overpainted Photographs")
© Gerhard Richter
12.4.92 (From "Overpainted Photographs")
© Gerhard Richter
23.2.96 (From "Overpainted Photographs")
© Gerhard Richter
8.2.92 (From "Overpainted Photographs")
© Gerhard Richter
"For many photographers the image has no surface. The illusion of photography in providing a window into which we perceive literal description and dimension by Richter's hand is now disrupted due to the addition of paint. Often a tense relationship, the results run the gamut of the surreal to the beautiful to the disturbed. It is all the more surprising that each in its perceived completeness was in essence accomplished by chance and trial and error."
4. März 92 (Piz Tremoggia) (From "Overpainted Photographs")
© Gerhard Richter
9.1.89 (From "Overpainted Photographs")
© Gerhard Richter
12.4.92 (From "Overpainted Photographs")
© Gerhard Richter
23.2.96 (From "Overpainted Photographs")
© Gerhard Richter
8.2.92 (From "Overpainted Photographs")
© Gerhard Richter
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