All posts by Cary Benbow

Cary Benbow is a photographer, writer and contributor to a number of photography magazines. See his work at www.carybenbow.com or www.wobnebmagazine.com

Cig Harvey – You An Orchestra You A Bomb

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Cig Harvey’s third monograph is a vibrant and bold book, capturing moments of awe, icons of the everyday, and life on the threshold between magic and disaster. The breathless moments of beauty in her images propel us to fathom the sacred in the split-seconds of everyday. A raw awareness of fragility permeates this work.

I cannot fully understand the life events that take a woman through her youth and into middle age. However, I am a parent, a husband, and am squarely in middle age. My wife is a writer, and has introduced me to a number of poets. This expansion of my previously limited knowledge of great writers has made an immense difference – and thus, Harvey’s book spoke to me. The rawness of Harvey’s written passages and relevance to where she finds herself in life struck home. But you don’t need to be a peer of Harvey to get the drift. She photographs and writes with the passion of a Beat poet. To quote, and slightly edit, the poet Neal Cassady, “One should write, as nearly as possible, as if she were the first person on earth and was humbly and sincerely putting on paper that which she saw and experienced and loved and lost; what her passing thoughts were and her sorrows and desires.” Harvey does not hold back – with understated power, she records her broad experiences with the world. Harvey’s moments captured in her camera speak to the temporal nature of life, and her intimate poetry weaves them together in this memoir of symbolism.

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“In my 20s I wear vintage dresses every day. / 1940s ball gowns to get coffee. Fringed flappers to the post office.  / They are itchy and smell of someone else’s transgressions. But I am fearless and my life is a photograph. / When I turn forty, I retire them all in favor of tight jeans and high boots. / I put one thousand dresses in a room upstairs. / A room now a galaxy of velvet, taffeta, crinoline, lavender, silk, fur, cashmere, magenta, chartreuse, and moths like stars in the night sky. / I like the idea of the moths taking back the clothes of these women, slowly making dust of our stories.”

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Cig Harvey’s hugely successful books You Look At Me Like An Emergency (2012) and Gardening At Night (2015) both sold out rapidly. Her photographs have been exhibited widely and are in the permanent collections of major museums, including The Museum of Fine Arts, Houston, and the International Museum of Photography, George Eastman House, Rochester, NY. She has been a nominee for John Gutmann fellowship and the Santa Fe Prize, and a finalist for the BMW Prize at Paris Photo and for the Prix Virginia, an international photography prize for women. You Look At Me Like An Emergency was first exhibited at The Stenersen Museum, Oslo, Norway. Cig’s devotion to visual storytelling has lead to innovative international campaigns and features with New York Magazine, Harper’s Bazaar Japan, Kate Spade, and Bloomingdales.

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Design: Deb Wood
ISBN 978 90 5330 893 6
Format: 22.5 x 22.5 cm
Hardbound with cloth cover
144 pages with 72 photos in full colour
Schilt Publishing, Amsterdam

To order a copy of the book from the publisher, please visit their website here

Once there was there wasn’t: An exhibition of work by Svetlana Bailey

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© Svetlana Bailey

Filter Photo is pleased to announce once there was there wasn’t, a solo exhibition of work by Svetlana Bailey, at Filter Space gallery.

Until the age of eight, Svetlana Bailey’s childhood summers were spent at her grandmother’s house in the Russian countryside. It was an influential period in which she discovered the world on her own and her earliest memories were formed. Sixteen years ago her grandmother passed away and now the house stands empty. For this body of work, once there was there wasn’t, Bailey returned to her grandmother’s empty house to examine those early impressions. Through this journey of returning, she was transported in time, as if opening a time capsule. Here Bailey discovered layers of image fragments captured in stories, old objects, images in albums and magazines. They pointed to the invisible marks, the impressions and mental images that remain, and perhaps for this reason — besides the dust, spider webs and the thicket of birch and cherry trees that had enjungled the outside — the house did not seem abandoned.

Using still life techniques, Bailey constructed installations within and around the house that included the objects that she found on location with photographs that she brought with her of her life after leaving Russia. She followed a similar process with images from her parents home in Germany and her own home in the US, constructing photographs that visualized times and places that are in reality far apart yet exist together psychologically. Similar to the act of carrying pictures in wallets or pendants, on coffee mugs or lock screens, displaying pictures in living rooms or as tattoos — an impulse for continuity, where separate events are rebroadcast into the present through a jumble of images.

http://filterphoto.org/portfolio/once-there-was-there-wasnt/

About the Artist:

Svetlana Bailey was born in St Petersburg in 1984, and after the fall of the Soviet Union emigrated to Germany with her family. Commencing studies at FH Dortmund, Bailey moved to Australia to complete her BFA at the College of Fine Arts in Sydney. In 2011, she undertook a residency in Beijing at the Three Shadows Photography Art Centre, which shifted the focus of her practice to China, and she has, inter alia, been photographing there since. Bailey recently graduated with an MFA in photography from the Rhode Island School of Design, and lives in New York and Sydney.

once there was there wasn’t — Svetlana Bailey

Exhibition Dates: December 1 — December 30, 2017
Opening Reception: December 1 | 6pm — 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207
Gallery Hours: Monday — Saturday | 11am — 5pm

Filter Space is free and open to the public.

Deutsche Börse Photography Foundation Prize 2017

Featuring works from Dana Lixenberg, Sophie Calle, Awoiska van der Molen, Taiyo Onorato and Nico Krebs

Exhibition on view: November 16, 2017–January 11, 2018
Opening reception: Wednesday, November 15, 7:00–8:30 p.m.

Aperture Foundation, in collaboration with The Photographers’ Gallery and the Deutsche Börse Photography Foundation, is pleased to present the Deutsche Börse Photography Foundation Prize 2017, featuring works from the shortlisted artists: Sophie Calle, Awoiska van der Molen, duo Taiyo Onorato and Nico Krebs, and this year’s winner, Dana Lixenberg, who was awarded the prize, worth £30,000 GBP, in May of this year. This marks the first exhibition of the prize in the United States.

The twentieth iteration of the prize, one of the most prestigious international arts awards, celebrates established photographic narratives alongside experimental and conceptual approaches to documentary, landscape, and portraiture. The four finalists investigate questions of truth and fiction, doubt and certainty, what constitutes the real and ideal, and the relationship between observer and the observed.

The opening of this exhibition at The Photographers’ Gallery in London, began an international tour of the show that went on to exhibit at the Museum für Moderne Kunst Frankfurt am Main, and subsequently at Aperture Foundation, marking the first exhibition in the United States of this prize. This year’s exhibition is curated by Anna Dannemann, Curator, The Photographer’s Gallery.



Featured Artists

Dana Lixenberg (b. 1964, the Netherlands) won for her publication Imperial Courts (Roma, 2015). In 1992, Dana Lixenberg traveled to South Central Los Angeles for a magazine story on the riots that erupted following the verdict in the Rodney King trial. What she encountered inspired her to revisit the area, and led her to the community of the Imperial Courts housing project in Watts. Returning countless times over the following twenty-two years, Lixenberg gradually created a collaborative portrait of the changing face of this community. Over the years, some in the community were killed, while others disappeared or went to jail, and others, once children in early photographs, grew up and had children of their own. In this way, Imperial Courts constitutes a complex and evocative record of the passage of time in an underserved community.


Sophie Calle (b. 1953, France) was nominated for her publication My All (Actes Sud, 2016), which finds the artist experimenting with yet another medium: the postcard set. Taking stock of her entire oeuvre, this set of postcards functions as a beautiful portfolio of Calle’s work, as well as a new investigation of it, in an appropriately nomadic format. Over the past thirty years, Sophie Calle has invited strangers to sleep in her bed, followed a man through the streets of Paris to Venice, hired a detective to spy on her before providing a report of her day, and asked blind people to tell her about the final image they remember. In her practice, she has orchestrated small moments of life, establishing a game, then setting its rules for herself and for others.

Calle’s Exquisite Pain is an installation in two parts that unfolds stories of devastating personal experiences as a means of reexamining and, ultimately, exorcising grief. The first part of the project presents Calle’s journey preceding “the unhappiest moment of [her] whole life,” told through collected photos and ephemera of ninety-two days that the artist saw as a countdown to romantic rejection. Each photograph or document is stamped with a number indicating the remaining amount of “days until unhappiness.” The second part of the exhibition pairs Calle’s story, told repeatedly from several different angles, with others’ recollections of their own pain and heartache. Through recursive recitation and empathy, the project explores the universality of pain and resilience.


Awoiska van der Molen (b. 1972, the Netherlands) was nominated for her exhibition Blanco at Foam, Amsterdam (January 22–April 3, 2016). Van der Molen creates black-and-white, abstracted images that revitalize the genre of landscape photography. Spending long periods of time in solitude and silence in foreign landscapes, from Japan to Norway to Crete, she explores the identity of the place, allowing it to impress upon her its specific emotional and physical qualities and her personal experience within it. With this intuitive approach, Van der Molen aims to find a pure form of representing her surroundings, by focusing on the essential elements in and around her. Her work questions how natural and man-made environments are commonly represented and interacted with.


Taiyo Onorato and Nico Krebs (both b. 1979, Switzerland) were nominated for their exhibition EURASIA at Fotomuseum Winterthur (October 24, 2015–March 14, 2016). EURASIA playfully draws on the iconography of the road trip, constructing experiences drawn from memory and imagination. Onorato and Krebs’s journey begins in Switzerland, continues through the Ukraine, Georgia, Azerbaijan, Turkmenistan, Uzbekistan, Kazakhstan, and Russia, and ends in Mongolia. Throughout their travels the duo encounters landscapes and people in a state of ongoing transition from ancient traditions and post-Communist structures to modernity and the formation of an independent identity. Using a mix of analogue media and techniques including 16 mm films, large-format plate cameras, and installation-based interventions, Onorato and Krebs compose a narrative that is as much fiction as documentation.

 


About the Deutsche Börse Photography Foundation Prize

Founded in 1997 by The Photographers’ Gallery, and now in its twentieth year, the Prize has become one of the most prestigious international arts awards and has launched and established the careers of many photographers over the years. The Gallery has been collaborating with Deutsche Börse Group as title sponsors since 2005. In 2015 the Prize was retitled as the Deutsche Börse Photography Foundation Prize following the establishment of the foundation as a non- profit organization dedicated to the collection, exhibition and promotion of contemporary photography. Past winners include Trevor Paglen, Paul Graham, Juergen Teller, Rineke Dijkstra, Richard Billingham, John Stezaker, and Adam Broomberg and Oliver Chanarin. A jury including Susan Bright, curator; Pieter Hugo, artist; Karolina Ziębińska-Lewandowska, curator of photography at Centre Pompidou, Paris; Anne-Marie Beckmann, director, Deutsche Börse Photography Foundation; and Brett Rogers, director, The Photographers’ Gallery, as the non-voting chair, selected the four finalists featured in 2017.

The Deutsche Börse Photography Foundation is a Frankfurt-based non-profit organization. The foundation’s activities focus on collecting, exhibiting and promoting contemporary photography.
For more information, please visit www.deutscheboersephotographyfoundation.org.


The Photographers’ Gallery opened in 1971 in Great Newport Street, London, as the UK’s first independent gallery devoted to photography. It was the first public gallery in the UK to exhibit many key names in international photography.
For more information, please visit www.thephotographersgallery.org.uk 


Aperture Foundation was created in 1952 by photographers and writers. The not-for-profit foundation, connects the photo community and its audiences with the most inspiring work, the sharpest ideas, and with each other — in print, in person, and online.
For more information, please visit aperture.org.


This story was also published on Medium

In the Country of Stones by Nicolas Blandin

Poetic visual narrative of Armenia

© Nicolas Blandin www.nicolasblandin.com

Busy lives being what they are — I did not have the opportunity to sit down with In the Country of Stones when it published in June of 2017. My copy arrived, and time slipped by. Shame on me. Nicolas Blandin’s book is a wonderful collection of images made when he travelled to Armenia in 2013–2014 after being captivated by the land and its people on a previous visit.

The landscapes Blandin captured are beautiful in their stillness. The layers of history, memories and culture appear in icons made visible. Telephone poles, highway ruins, and ancient carvings all evoke an ancient Christian past, and the Soviet government that ruled there for over 70 years is recognized as well. Both exist, at least visually, in a harmony knit together by the people of Armenia. Blandin comments on this aspect of the people in the book: “We had heard about the legendary Armenian hospitality, but we were still humbled by the level of openness and generosity we encountered. During those three weeks on the road we had the strange feeling that we had reunited with distant relatives…”

© Nicolas Blandin www.nicolasblandin.com

© Nicolas Blandin www.nicolasblandin.com

The mix of images in the book include almost as many portraits as images of the land itself. Yet I undoubtedly consider the book to be about Blandin’s journey to this raw, poetically beautiful place. The placement of the images within the book are such that one image leads the viewer into the next with a feeling of wonder, and time seems to fold back and forth on itself. A portrait of teenage boys wearing contemporary clothes is juxtaposed with an image of a house interior with a metal stove that could easily be from the early 20th century. Massive Soviet brutalist architecture follows an interior photo of a monastery from the 9th century complete with early Christian iconography. And each person shown in the book gazes directly at the camera, and thus right at the viewer — hinting at the openness and familiarity Blandin felt.

© Nicolas Blandin www.nicolasblandin.com

© Nicolas Blandin www.nicolasblandin.com

© Nicolas Blandin www.nicolasblandin.com

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© Nicolas Blandin www.nicolasblandin.com

The book sold out its first edition 150 copy print run, not surprisingly. Much like many of the other editions published by Another Place Press, the book’s size is very personal in nature; lending to a meaningful interaction between the images and the viewer. The photos are printed beautifully on uncoated paper, which gives them a warmth and softness without sacrificing clarity.

© Nicolas Blandin www.nicolasblandin.com

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© Nicolas Blandin www.nicolasblandin.com

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Blandin speaks to the backstory of the project, as well as the historic narrative of Armenia and how it frames his work in those contexts. He closes his statement in the book by saying, “The images in this book are the result of a personal journey. They are partial, subjective, selective, even oblique. They do not amount to a definitive vision of the country. How could they even presume to record a nation in such a state of flux? In my photographs, I am seeking to tell my own story, as well as the stories of others, as honestly as I can. Rather than documenting the history and the landscape, my approach to both is rather more poetic and lyrical. And yet, to borrow Jocelyn Lee’s words, photographs, unlike paintings or drawings, remain “mysterious but irrefutable anchors to a real event in space and time.”

Nicolas_Blandin_Book_cover

In the County of Stones — Nicolas Blandin

76 pp / 150 x 190mm
Perfect Bound
Fedrigoni & GF Smith papers:
350gsm Colorplan cover
170gsm Uncoated text
Edition of 150
APP011
ISBN 978–1–9997424–0–9

 


Nicolas Blandin is a self-taught French photographer based in Annecy, France. Winner of the 2017 Feature Shoot Emerging Photography Awards, his work has been featured in various publications both printed and online. Besides freelancing for editorial and commercial clients, Nicolas is working on several long-term personal projects. His first book entitled “In the Country of Stones” was published by Another Place Press in June 2017.

Feel free to get in touch for commissions, collaborations, print inquiries or just to say hi.

Another Place Press is a small independent publisher interested in contemporary photography that explores landscape in the widest sense, covering themes which include land, place, journey, city and environment — from the remotest corners of the globe to the centre of the largest cities. Iain Sarjeant is the founder and editor of Another Place, and Another Place Press.

 

 

ObjectImage by Sarah Tulloch

New narratives born from a collection of personal and public images

ObjectImage introduces British artist Sarah Tulloch’s idiosyncratic approach to working with the photographic image. Tulloch uses photo collections left by her grandfather and daily newspaper imagery to explore themes that reflect on our shared habits of consuming photographic media. From the social history of documenting family to the juxtaposition of recycled media imagery she probes and questions both object and image to create new and beguiling works. 

Chavez-Kate Moss Queen Of Fashion
Honey Boo Boo Landscape

The book is laid out and composed to give Tulloch’s work deserved attention. The placement of both full images and details throughout the book allows the reader to view the works at various distances – and really get a chance to appreciate the craft and care taken to artfully construct these ‘new’ images. Shaggy fibers from rough cut edges and the smooth scalloped borders of the original prints contrast the other; layers of some collages are distinctly apparent and lend a tactile depth to the object.

“You have to have that point where the image
is released from its original use—value for it to become something else and for that imaginative process to do its work.”
Sarah Tulloch

Plant Boy

In Faultline, and the subsequent Cut Series and Postcards, Tulloch’s re-works her grandfather’s collection of photographs, slides and cine films. She describes her Cut Series “as an investigation into the slippery nature of memory and the photographs mediation between worlds that are obfuscated from one another. The material fabric of the photograph and its’ possibilities for ‘re formation’ are the material of my working practice.” Her photomontages allow her to re-focus the media, re-compose the image and ultimately re-find and re-purpose the photographic subject. 

from Postcard Series, Boy Dog
from Postcard Series, Boy Dog – Detail

Tulloch’s new work Newspaper Heads continues themes of transience and entropy but shifts the stage to public and contemporary events. Tulloch was drawn to the unexpected juxtapositions of subject matter in daily newspapers; overleaf from images of human tragedy are adverts for a new car. She reflects and re-presents this image culture and as with earlier work re-defines the photographic matter in the process. 

Leaning Hand
Faultline

So many artists/photographers are creating work by mining the digital archives of the internet – whether it be appropriated news or mass media images, curated flotsam and jetsam of personal photographs online, or the like. Tulloch’s personally inspired work (she inherited her grandfather’s  extensive collection of photographs) in ObjectImage was made with thoughtful intent. Unlike the lucky happenstance of found photos that incidentally speak to an artist’s tastes and oeuvre – Tulloch’s cuts are not random; rather there is a clear choice to show, or not show, elements of the original images. The physical manipulation and technique of collage are not new, but her work feels fresh. The curation of her reinvented images, along with the accompanying introduction by curator and writer Matthew Hearn, and the interview with photographer  Marjolaine Ryley, really gives the reader a sense of Tulloch’s foundation and philosophy behind her creative process, and the images carry her new narratives forward.

ObjectImage by Sarah Tulloch
128 pages; 7 x 9 ½  inches (17.7 x 24 cm)
ISBN-13: 9781942084372


Sarah Tulloch holds a First Class honors degree from the Bristol School of Art and a Design and Distinction, Master of Fine Arts from Newcastle University. She concentrates on a close-range investigation of found photographs as both objects with specific material qualities and images in themselves. Her book, published by Daylight Books, is supported by the Arts Council England. Tulloch has exhibited in the UK and internationally, including Plus Arts Projects in London, Motorcade/FlashParade in Bristol, Baltic 39 in Newcastle upon Tyne, and Bergby Konst Centre, Sweden. Tulloch lives and works in Newcastle upon Tyne, UK.

For more information about Sarah Tulloch, please visit: www.sarahtulloch.co.uk

To order a copy of ObjectImage, visit Daylight Books here

Art Through the Lens 2017 – The Yeiser Art Center | Eliot Dudik – Juror

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Art Through the Lens 2017

Dates: October 14 – November 25, 2017
Reception: Friday October 13th from 5-7pm  

The Yeiser Art Center (YAC) is pleased to be hosting the annual international juried photography arts competition, Art Through the Lens. Originating in 1975 as the Paducah Summer Festival Photo Competition, Paducah Photo has grown from a fledgling contest into an international juried exhibition. Over the past 40 years, this exhibition has become one of the Mid-South’s most prestigious annual photographic events. To honor its history, the exhibition now exists in two parts: the International Show which features the juror’s selection and the Regional Showcase chosen by second juror.

“It was my great pleasure to be this year’s juror for the Art Through the Lens exhibition at the Yeiser Art Center,” said Eliot Dudik. “The first juried exhibition I applied to and was selected for was Paducah Photo 2009, which I believe was the older version of Art Through the Lens, so this exhibition means a lot to me as it was a springboard of sorts for my own work. Jurying an art exhibition is no easy task, especially one with 621 exceptional entries. There were certainly photographs that didn’t ultimately make the cut that I had a very difficult time letting go. Selecting images for an exhibition is by no means black & white. We all have our own tastes and interests. My interests in photography are quite broad, as are my interests in music, film, and literature, which made the selection process for this lens-based art exhibition even more difficult. I do, however, have a tendency toward material and process, experimentation, risk, ideas, nuance, and heart. I believe the selections made for the 2017 Art Through the Lens exhibition carry all of these things, and I hope you’ll enjoy interacting with them as I did.”

This year’s opening reception will be held on Friday October 13th from 5-7pm, and will include light refreshments and the announcement of awards. The reception is free and open to the public. After the reception, there will be a $5 admission to see the exhibition. Proceeds support the Yeiser Art Center’s mission to bring exceptional arts educational programming to Paducah. YAC Members and guests under 13 years of age always enter free of charge. 


Located in downtown Paducah, the Yeiser Art Center is a non-profit visual arts organization celebrating sixty years (1957 – 2017) of serving the community through exhibitions and education throughout the Tri-State Region. The Yeiser Art Center is wheelchair accessible.   

Hours of Operation:
Tuesday – Saturday, 10 a.m. – 5 p.m.
Admission: $5 for non members, YAC members and children under 13 free.
For questions, please email the YAC at office@theyeiser.org or call 270-442-2453.  Visit theyeiser.org for more info on upcoming events.

Nicolò Sertorio – Once We Were Here

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Filter Photo is pleased to announce Once We Were Here, a solo exhibition of work by Nicolò Sertorio, at Filter Space gallery.

Nicolò Sertorio considers himself privileged: white, male, educated, healthy, living in the Western world. He is, however, admittedly part of a ‘disenchanted generation’ born after WWII when globalization seemed like a great idea, a path towards unification, only to be awakened to a hard reality of inequality and environmental abuse. Contemporary media is filled with alarming news: ice melting, fresh water contamination, overpopulation, corporate greed, food poisoning, oil dependency, and wealth inequality, among other things. It seems the world has lost its mystery to become the playground of the very few at the expense of the many. Nicolò Sertorio’s photographs address the resulting sense of powerlessness that has left communities disenfranchised, resulting in a lack of social or environmental accountability.

Presented as a hypothetical archeological study on the nature of co-existence, Sertorio’s series, Once We Were Here, presents the viewer with a world where humanity’s need for insatiable consumption has led it to the ultimate consumption: the consumption of the self. We are shown a world where the selfishness of humanity has disappeared yet nature remains in its solemnness. Nature has endured and overcome the weight of humanity’s selfish behaviors and we are reunited with nature’s beauty and mystery.

http://filterphoto.org/portfolio/once-we-were-here/

Nicolò Sertorio is an artist based in Oakland, CA (born in Italy). He grew up influenced by both European and American culture in a family with a long tradition in academia, arts, and science. This multicultural and scientific upbringing influenced him to be both analytical and explorative.  Traveling extensively and living in many countries from an early age has left him with a unique combination of European sensibility and complex, and at times conflicting, worldviews.

Once We Were Here
Nicolò Sertorio
Exhibition Dates: November 3 – November 25, 2017
Opening Reception: November 3 | 6pm – 9pm
Location: Filter Space 1821 W. Hubbard St., Ste. 207, Chicago, IL 60622
Gallery Hours: Monday – Saturday | 11am – 5pm

Filter Space is free and open to the public.

Filter Photo Festival 2017 Opens in Chicago

 

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Filter Photo Festival – opening night exhibition at Fogelson Studio

The 2017 Filter Photo Festival kicked off on Thursday, September 21st. The events continue through Sunday, September 24th; with workshops, portfolio reviews, artist talks and exhibitions all coordinated throughout the four days of the festival.

The festival includes a number of events and talks that are free and open to the public at several locations in the loop area and local galleries. The full schedule is available at Filter Photo’s site: http://filterphoto.org/filter-festival/

Thursday’s events were capped off with exhibition openings. Filter Photo held its first Members’ Exhibition, Prime.  Juror, Kat Kiernan, Director of Panopticon Gallery and Editor-in-Chief of Don’t Take Pictures magazine, chose five artists for an installation at Fogelson Studio.  All of the submitted work can be seen in the online exhibition, which represents the quality and breadth of work being produced by Filter Photo Members.

we like small things install shot
‘we like small things’ at Filter Space Gallery

Juror, Jennifer Keats, Director of The Donut Shop, chose a compelling assortment of small works for the show at Filter Space Gallery, we like small things. Keats invited 30 artists who created the small and unique works in we like small things, each motivated to create artwork of the highest standards both in its materiality and its meaning. The history of photographic prints and the attitude toward their size has been an ever-changing one. People have much more cognitive over-load than ever before, and that can take a toll. In a world in which viewers are increasingly assaulted with imagery, artworks in small scales allow us a sense of control, a space to retreat, when we are able to fit it into the palm of our hands.

The third exhibit opening was Deception. The show’s juror, Brian Paul Clamp, Director, ClampArt, wrote this about the exhibition, “Deception and deceit typically are perceived as dark and ominous. But one can also fall victim to less treacherous duplicity—trickery more playful in nature. My inclusions in the exhibition include both formal and conceptual deceptions. And while some of the strong work in the show naturally might feel sinister and at times even frightening, there is an equal amount of lighthearted mischievousness and fun—representing balance and parity rather than a single-sided interpretation of the theme”.

Milee Tibbs-Deception show
From ‘Mount Analogue’ series by Millee Tibbs

Events continue throughout the weekend – For more information about the Filter Photo Festival, including schedule of events, workshops, portfolio review sessions, and contact information – please visit the Filter Photo website: www.filterphoto.org

After the Firebird by Ekaterina Vasilyeva

Magical images from the hidden world

The photo book After the Firebird is now available. The photo project by the same name is the result of a 7-year project in Pskov region (Russia) by award winning photographer Ekaterina Vasilyeva.

After the Firebird talks about the mystery and magic of the hidden world and the amazing discoveries that can occur in front of everybody. You need only to look around carefully.
To view samples and purchase the book, please visit : http://www.ekaterinavasilyeva.ru/books/after_the_firebird/

Interviews and/or coverage of the project has been published at: Critical Mass, Wobneb Magazine, Art Narratives, Dodho Magazine, C41 Magazine, PDN Magazine, Edge of Humanity Magazine, F-STOP Magazine, WorkshopX, Fotografia Magazine, Private, Saint Lucy, Phosmag Magazine, Tonelit and LensCulture.

To see more images from After the Firebird and read the interview in Wobneb Magazine: click here or to read the interview as it appeared in Art Narratives on Medium, click here

After the Firebird by Ekaterina Vasilyeva
Designer: Ekaterina Vasilyeva
Limited edition of 85 copies (numbered and signed)
Handmade binding

Sise: 24 cm x 32 cm
48 pages + 1
37 color illustrations
1 Firebird for the Incantation
Inside paper: Materica Gesso 120 gr
Cover paper: Materica Gesso 250 gr
Languages: English, Russian
Self published and printed in St. Petersburg (Print Gallery) in 2017


Ekaterina Vasilyeva is an independent photographer from St. Petersburg, Russia, working at the intersection of the genre, documentary and art photography.

In most of her projects, she explores the theme of a particular place (space, territory, it changes in the context of time and historical landmarks, environment problems, interaction with human activity, personal relationship and the myths of the place. To see more of her work, please visit her website: http://www.ekaterinavasilyeva.ru/

Directly from Nature — Fine Art Botanicals by Diane Kaye

 

 

 

 

 

Diane Kaye’s website, http://www.fineartbotanicals.net/, features only camera-less work. Each photograph is a contact print. A light or moving light beam is directed on the object, which is then recorded on black & white photo paper, or to a digital file via a scan head.

 

“These subjects, most of them from my garden, are so complete in themselves that the use of software processing is restricted to the digital equivalent of darkroom printing techniques. All other distortions or effects are achieved naturally in a single exposure. I honor all stages of the plant cycle from seed or bulb to beautiful crispy dried old age and I freely exercise my right to surgically operate on my subjects, in the service of a new fierce type of aesthetic. I feel passionate about smeared colors as subjects move, over time.”

 

“Working with plant specimens calls forth feelings of respect and wonder in me. And if I ‘lean on them’ in just the right way, they begin lending themselves to varieties of emotional expression beyond the traditional beauty-aesthetics we might otherwise associate with them. This isn’t your old grandmother’s bouquet. Far more is possible, as these graceful forms yield their secrets.”

 

 

 

“The artist is the confidant of nature, flowers carry on dialogues with him through the graceful bending of their stems and the harmoniously tinted nuances of their blossoms. Every flower has a cordial word which nature directs towards him”. Auguste Rodin

 

 

To view more work by Diane Kaye, please visit her website here, or visit Fine Art Botanicals here.

 

 


 

 

 

If you wish to be considered for a feature in Wobneb Magazine, please visit the Submit page at https://wobnebmagazine.com/

Also published on Medium