With consideration to the short-term shift from in-person gallery exhibitions to online presentation of meaningful projects and artwork, Wobneb Magazine is happy to help spread the word for the following show:
Dreams features a selection of works from the Easton Nights series. Peter Ydeen has been photographing the Easton, Pennsylvania area at night since 2015. He takes inspiration from the work of noted American photographer George Tice, who captured images of American life and landscape.
Ydeen explores the Easton area at night, discovering the ethereal presence of contrasts and colors. As if lighting a classical still life or stage set, Ydeen takes advantage of the lights in the city which highlight his subjects. Coupled with the pink light emitted by the sodium vapor streetlights, Easton at night becomes a silent city of lit stages bathed in unreal color and shadows.
These scenes share a familiarity with countless American cities during the quiet of night. The temporarily abandoned spaces reflect the citizens who built and occupy them during daylight. The remnants of decades of development offers a portrait of a community in absentia. For Ydeen, creating the series was both addictive and cathartic. What started as a photographic exercise became an intimate interaction with the quiet shapes and exotic lights of a sometimes-forgotten American city.
November 1, 2019 – January 12th, 2020
Carrie Mae Weems
Opening May 3–4, 2019 with artist in attendance
Public lecture May 4, 4:00 pm
CONTACT Gallery and Justina M. Barnicke Gallery at the Art Museum at the University of Toronto
80 Spadina Avenue, Suite 205 and 7 Hart House Circle, Toronto
The Scotiabank CONTACT Photography Festival is thrilled to announce that renowned American artist Carrie Mae Weems will headline the twenty third edition of the citywide event, spanning the month of May 2019.
Weems’ exhibition in five parts represents the artist’s first solo exhibition in Canada. Her work will be presented in two gallery exhibitions at the Justina M. Barnicke Gallery and CONTACT Gallery, and in three major public art installations in downtown Toronto. Weems will be present for her exhibition receptions at the CONTACT Gallery (May 3, 6:00–9:00 pm) and at the Justina M. Barnicke Gallery (May 4, 6:00–8:00 pm).
The Festival’s spotlight on Weems situates her work at five distinct locations across Toronto, representing the artist’s first solo presentation in Canada. These gallery exhibitions and public installations combine pivotal streams of Weems’ practice: her sustained focus on women, which confronts issues of both repression and empowerment; and her ongoing investigation into the devastating effects of violence, especially against Black men. Weems’ exhibition at CONTACT Gallery, Blending the Blues, features photographic works spanning three decades that draw together these parallel themes.
CONTACT is a not-for-profit dedicated to celebrating and fostering the art and profession of photography with an annual Festival in May and year-round programming in the CONTACT Gallery. CONTACT embraces an inclusive, accessible approach to the medium, and cultivates collaborations with and among artists, curators, institutions, and organizations.
Exhibition Information provided by Aperture Foundation
547 West 27th Street, 4th floor
New York, N.Y. 10001
Robert Kananaj Gallery is honoured to bring to the Toronto public an opportunity to experience the photographs of Emmanuel Monzon. When so much is invested in what is loud and in your face, Monzon’s “Urban Sprawl” series finds an opposing refuge in emptiness and silence. The artist invites one’s experience, conversing in a no-man’s land bordering the collision of cultures.
Urban Sprawl: Emptiness
16 March – 4 May, 2019
Reception: Saturday 16 March 2 – 5 p.m.
Emmanuel Monzon at Robert Kananaj Gallery
Exhibition Essay by Cary Benbow
The work of Emmanuel Monzon embodies an approach of capturing the aesthetic of the banal, and grasping the everyday scene in such a way as to render it both an image and a screen for the projection of wishes and fantasies in the intermediate zone between urban and rural America. The uneasy emptiness found there results in an independent identity.
Monzon’s work falls into a space bordered traditionally and contemporarily by Giorgio de Chirico, Edward Hopper, Richard Misrach, and Michael Kenna. Formal aspects of Monzon’s images echo aspects of rendering the inanimate and the animate in a play of light and shadow, forms and patterns. Monzon’s animate elements are blatantly absent, but nonetheless, this deliberate strategy is hauntingly reminiscent of their cropping, use of foreground and concentration on visual elements which Monzon uses to make a comment on urban sprawl, and the twenty-first century tension experienced between occupied and unoccupied spaces. Kenna and Misrach both deal with the subject of landscape and explore the effects of human interaction and isolation. Their visions are achieved through long exposures, or expansive vistas, but Monzon chooses to take the baton of simplicity and clarity, and drive away with it. His automotive wanderings spur meaningful photographs in his response to the land. His quiet studies of shape, form, pattern, signage and landscape are a respite amidst the uneasy ‘non-places’, which he associates to the expansion of the urban or industrial landscape in the American natural landscape.
Monzon chose to photograph the in-between state found in the American landscape. He captures places of transition. A visual segue which gives the traveller an enigma. The limbo caught by his lens holds the viewer in check, and begs the question: am I leaving someplace or entering another? The disconcerting environment inspires him. The emptiness in both the urban landscape, and in the great American spaces. He mixes two approaches: The codes of the new topographics and the concept of ‘in-between two states’ as inspired by the anthropologist Marc Auge. These transitional non-places are like intersections or passages from one world to another, such as going from a residential area to an industrial area. Monzon includes views of tourist locations which are altered by human influence. We often find a feeling of emptiness, of visual paradox when encountering these spaces when traveling throughout the United States. By displaying structures humans built to serve their own needs, but in a rare state of absolute idleness, he creates a disconcerting environment. The visual irony of the significant impact of people upon their surrounding environment, and their notable absence in his images results in an eerie, surreal tension that stops viewers in their tracks.
Robert Kananaj Gallery
172 St Helens Avenue, Toronto ON, M6H 4A1 | 416 289-8855 | Tues-Sat 11AM-6PM
The Robert Kananaj Gallery was established in 2011 to promote and exhibit Canadian and international contemporary art. The gallery’s scope includes installation and photo-based work, as well as a strong commitment to painting and sculpture.
Director Robert Kananaj
Co-Director Roberta Laking Kananaj
For more information see RKG website at robertkananajgallery.com/
Beyond the Reach of Rivers is a photography exhibition by Mandy Williams that brings together work from two photographic series about the sea to the beachfront in Brighton.
Sea Level is shot in the Sussex town where she lived as a teenager and focuses on the beach shelters that line the promenade – a place to congregate and watch the sea. The photographs are taken at high tide, when the shelters are empty. Their windows are weathered and dusty and scratched by the wind. Absent of people, their presence lingers through traces of graffiti, dirt and other debris. The view of the sea through this prism produces images that are often quite abstract – the sea and the markings on the glass have equal importance in the finished photograph. Dust and neglect becomes part of the image, reinforcing the sense of melancholy which runs through many seaside towns.
In Beyond Land the photographs take place at the street, a causeway that reveals itself at low tide, stretching out towards the horizon like an umbilical cord connecting us to the sea. Started a month after the referendum result with its emphasis on Britain as an island nation, geographically and psychologically separate from Europe, the photographs show a collective march to the water’s edge. The line of people following disappearing paths out to sea not only documents our innate connection to water but can also be seen as a metaphor for the times.
Mandy Williams is a photographer and artist who works on long-form landscape series concerned with the psychology of place and how the marks of time and human presence affect the environment. Often her photographs show a place that has been compromised – either by environmental factors or by its connection to a specific narrative.
Beyond the Reach of Rivers is her 3rd solo exhibition in the UK. Recent group exhibitions include the 209 Women exhibition at the Houses of Parliament (2018) and Open Eye Gallery, Liverpool (2019), and The Family of No Man, Cosmos, Arles (2018). She received the Photography prize at the Royal West of England Academy in 2014, 3rd place in the International Photographer of the Year Award 2017 in Landscapes: Seascapes, and work from Sea Level was shortlisted for the 2018 Hariban Award, and was an Awardee in the Julia Margaret Cameron Awards 2018.
*The title of the exhibition is taken from Loren Eiseley, an anthropologist and natural science writer whose writings frequently reference our evolutionary connection to the sea.
Contact information: Mandy Williams firstname.lastname@example.org / 07817 397 747 / https://mandywilliams.com
Are you completing a photo degree program? What comes afterward? Career, continued education, gallery or museum work, or ???
In a few months, Wobneb Magazine will host a free juried exhibition for photographers who’ve reached the final stage of their current studies. This will be an exhibition for a photographer’s portfolio of work. Full details to follow – please share this opportunity!
Wobneb Magazine wants to provide opportunities for photographers to exhibit in group online exhibitions with no entry fee. This series of exhibitions is open to any amateur or professional photographer around the globe — with the goal of providing the chance for many different people to contribute to the theme. The inaugural theme for 2018 is Sense of Place.
On some level, each photographer tries to convey an observable sense of a place within a slice of a second; hopefully transcending mere documentation of physical appearance to impart a feeling of their experience or emotions. This exhibition is fortunate to have a range of styles and methods used to address the theme. Photojournalist Louise Wateridge’s image of a Syrian refugee child playing with a pigeon is reflective of her sense of place as an observer; capturing a moment of joy within a life of hardship, and creating a strong image without being overly invasive. The work of photographer J.M. Golding is connected to specific locations and presents a spiritual and philosophical connection to the world around her. She observes and transforms the views into what exists internally as well. The landscape by Ellen Jantzen takes a step further into how an artist can capture an image or images of a place, and create new realities in her process of looking beyond surface and trying to reveal something emotional through her manipulations.
Rob Hudson is a special contributor to this exhibition. In his essay, Hudson addresses the idea of place and how photographers try ultimately to show the uniqueness and insight each person brings to the table. In addition, Hudson and photographer Al Brydon contribute images from their respective regions of Wales and England to share their sense of place with respect to their own relationship with the land.
For this exhibition, we asked photographers to consider the following: What is the social or physical landscape where you live? How do you define your sense of place in the world? A sympathetic understanding is the goal of any photographer. Each one asks the viewer to look at what they’ve captured with their camera, recall their own personal experiences, and draw meaning from the connections. We asked contributors to show how they document or interpret the world around them, and convey a sense of place using their unique visual voice. This exhibition is an exploration of that idea, our surroundings, as well as ourselves.
A Sense of Place by Rob Hudson
I’ve just returned from spending a few days in somewhere that, to me at least, has a strong sense of place — the St. David’s peninsula in the far southwest of Wales. It was one of the places in Britain where the first Christians arrived from Ireland, now memorialized in both the place’s name, and the cathedral tucked into a little valley to hide it from Viking marauders. There’s a sense of human history here that is so close to the surface and obvious in such a sparsely populated area. It seems to shine forth in a way I don’t recognize or feel about in the city I live within.
The tilted rock strata produces a long line of low hills that seem to rise up from the surrounding plane with the character of mountains. They look like leaning triangles, and that feature is carried all the way to the sea cliffs and the outlying islands. If you imagine that line of hills to be the dorsal fins of a giant subterranean whale, several miles long, then the cliffs and jutting rocks are its teeth having taken giant bites out of the coastline.
I could tell you these things, and create the idea of a sense of place in your mind to illustrate how the uniqueness of a place makes it stand out. Is it uniqueness, or because I’ve been visiting here since I was a boy, and have a strong emotional connection to this place? Perhaps it is because there’s a commonality of features which we recognize as having a sense of place. I can also tell you that six different people from varying ages, genders or cultures have independently described this place as having something ‘magical’ about it (and it’s a term I’d happily subscribe to myself); but this brings us no closer to explaining or identifying any features that give a sense of place.
The poet Edward Thomas wrote the phrase, ‘Within the spaces between’, which simply sums up the connection we make to the often unappreciated places we visit — especially when we engage with making an artistic response to them. A sense of place isn’t a simple concept to understand. We all recognize it when we feel that connection, but like many emotional responses it is more difficult to explain in words. Perhaps this is because a sense of place isn’t an inherent aspect of a place’s identity at all, but something we project onto it. In short, it is a social and cultural construct. This isn’t to suggest that a sense of place is lesser because of its human roots; landscape itself is an idea, and it doesn’t exist outside the human realm. Both terms express the power place can hold over us, the depth of our emotional connection.
Equally important is to consider what the opposite of a sense of place might entail — what is ‘placenessness’? Placeless spaces are just as valuable in artistic expression as those that have a sense of place. A few years ago my good friend and fellow founder member of the Inside the Outside collective made a series of photographs he termed ‘None Places’. Like others engaged with a radical interpretation of landscape, Al Brydon’s ‘None Places’ are sites of freedom, which allowing for a more anarchic expression. It is arguable that after we put a frame around a photograph of a place, it ceases to be placeless because we’ve begun the process of myth making and story telling, which contribute to the creation of a sense of place. This doesn’t mean they are invalidated, they are worthy of our exploration and expression, but we should also be aware of our own contradictions. As Gertrude Stein said, “There is no there there”.
The truth is, we make or find a sense of place if we look long and hard enough. After all, that is the job of the artist or photographer — to show others our insights. In essence we’re trying to understand and express ourselves through the medium of our relationship to place. But, and this is an important ‘but’, we don’t all share the same experiences of place. Our world is so full of imagery; only an individual’s unique response to place will stand out. That’s easier than it sounds. We have to do the legwork. It’s taken me approximately 40 years to visually consummate my love for St. David’s peninsula; I hope you’ll achieve success somewhat faster.
Sense of Place, October 2018 Wobneb Magazine
Rob Hudson is one of the co-founders of Inside the Outside, a collective of landscape photographers based in the UK. He has contributed to a number of books and projects on landscape photography, and his photographs have been shown in a number of prominent exhibitions throughout the UK.
Al Brydon’s ‘None Places’ by kind permission www.al-brydon.com.
Inside the Outside collective:
This exhibition is also published at on Medium.com. All images are used with permission. I want to sincerely thank all the contributors and artists for sharing their work. —Cary Benbow, Publisher, Wobneb Magazine
Wobneb Magazine will provide opportunities for photographers to exhibit in group online exhibitions. The exhibition is open to any amateur or professional photographer around the globe – with the goal of providing the chance for many different people to contribute to the theme. All entries will be exhibited.
Final deadline is 11:59pm September 30, 2018 (GMT-4:00). The exhibition will be posted online starting October 5 – October 31, 2018.
The theme for our first online exhibition is Sense of Place. What is the social or physical landscape where you live? How do you define your sense of place in the world? This does not need to be a literal translation of the term – send your images that convey a sense of place using your unique visual voice.
Photographers will be allowed ONE maximum entry per exhibition. Please do not send images that are unrelated to the theme. We reserve the right to exclude submissions if they do not fit the theme. Images can be made with any camera you choose, (large format, medium format, digital, lomo, camera phone, etc) and in any style.
Size: 72dpi, sRGB, 1000px wide
Save as .jpg
Submit Via Email
It is FREE to enter. Send only ONE image to: email@example.com
In the subject of your e-mail, type the name of the exhibition (example: SENSE OF PLACE)
Send name, title, location (where you are based, or where you created the image), and link to your work (website or other): Please follow the example below EXACTLY:
©Jane Doe, The Way Home, San Antonio, TX http://www.janedoephoto.com
(Your Name with copyright symbol, title of piece, location where it was captured, link to your site – please include http://)
If your image is sized incorrectly or the submission is incomplete, it will not be posted.
Questions? Send them to firstname.lastname@example.org
Filter Photo announces the 10th Annual Filter Photo Festival. This four-day Festival celebrates the vibrant art community in Chicago through photography-inspired programming. Nearly 30 photography curators, collectors, and critics from across the country and abroad will conduct over 800 portfolio reviews with aspiring artists and photographers. The Festival will also host a variety of photography workshops exploring everything from historical processes and creative production, to professional practices and career development. Additionally, the Festival will welcome photographer, Mona Kuhn, as the keynote speaker. Finally, there will be several artist talks and presentations, special receptions for three juried exhibitions featuring over 80 artists at Filter Space gallery, and a Portfolio Walk showcasing the work of nearly 100 emerging, mid-career, and professional photographers. All midday artist talks and evening programs are free and open to the public. Portfolio reviews and workshops are paid events that require advanced registration.
The 2018 Filter Photo Festival will take place September 27-30, 2018 at the Millennium Knickerbocker Hotel. Additional evening events and programming will occur at several partner galleries, institutions, and organizations around Chicago.