Tag Archives: Exhibition

SEEING THROUGH YOU – Online Photography Exhibitons by Fort Gansevoort

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:

A cloud in a box Will Be the First In An Online Weekly Exhibition Series Organized By Invited Curators and Critics

A cloud in a box
Curated by Terry R. Myers

Opening Online Thursday March 26, 2020

Fort Gansevoort is pleased to announce SEEING THROUGH YOU, a series of weekly online exhibitions organized for the gallery by invited curators and scholars. Launching with its first exhibition on Thursday, March 26, 2020, this initiative will highlight artists from around the globe and aim to initiate lively discourse among larger and more diverse audiences for whom the web and social media are an even more vital ‘salon space’ in a time of crisis.

The series takes its title from a 2004 piece by Barbara Kruger, who has said, “I work with pictures and words because they have the ability to determine who we are, what we want to be, and what we become.” In a moment when communities worldwide are called upon to redefine daily life, seek new ways to connect, and locate sources of mutual support, art has a critical role to play.

The first exhibition of SEEING THROUGH YOU is named for the 2016 Pet Shop Boys song, A cloud in a box. Organized by Los Angeles-based writer, educator, and independent curator Terry R. Myers, the show brings together seven artists currently working in Berlin, LA, Santiago, Stockholm, and Tel Aviv, and reinforces how profoundly these artists have, in Myers’ words “unexpected connections, as they been together for quite some time in my mind’s eye.”

Artists in A cloud in a box are Milly Barzellai, Chinatsu Ikeda, Peter Köhler, Vicente Matte, Jeni Spota C., Keith Tolch, and Pilar Trujillo.

Myers explains: “Collectively, the works here display an abundance of imagery in a vibrant and material spectrum that contains agile bands of alienation, contentment, devotion, infatuation, joy, tragedy, and magic. These bands, of course, are powerful and they bend and/or blend within the work of any one of these artists as much as they do across that of the group. Magic is last in this list because it mixes with the others the best. Magic is a secret, but a secret made to be shown to others. The Pet Shop Boys song tells the story of a magician with a cloud in a box— ‘a secret between him and the sky’— that he would display once a week. These seven artists, each in their own way, are doing the very same thing.”

About Fort Gansevoort

Fort Gansevoort is a contemporary art gallery representing emerging and established artists from around the world. With a strong commitment to curatorial excellence and new research, Fort Gansevoort mounts six exhibitions annually, devoting its space and publishing efforts to both emerging artists and established figures whose art invites fresh study and warrants increased recognition. Fort Gansevoort represents Zoë Buckman, Zoya Cherkassky, Patrick Martinez, and Christopher Myers, and exhibits the works of many other artists in group and solo exhibitions.

A cloud in a box will be on view online at fortgansevoort.com from March 26 through Spring, 2020.

Press Contact:
Andrea Schwan, Andrea Schwan Inc.
info@andreaschwan.com
+1 917 371.5023
http://www.fortgansevoort.com
@fortgansevoort

Above:
Vicente Matte
Taller, 2018
Distemper on canvas
67 x 52.75 inches
© Vicente Matte
Courtesy the Artist and Fort Gansevoort

Aurora PhotoCenter Brings Opportunities for Photography

L to R: Installation view of [hyphen] American, Self Portrait as a Ghost by Amelia Morris, Image from The Mall by Jay Turner Frey Seawell

2019 Photography Developments for Indy

This year a number of different things came together in a confluence of good for photography in Indianapolis. I was introduced to Mary Goodwin and the Aurora PhotoCenter (APC). In its inaugural year, the APC conducted a number of events, first of all being the workshop held at the Indianapolis gallery space, Tube Factory at Big Car. Keliy Anderson-Staley held a tintype workshop and individual portrait sessions. I sat to have my portrait made, and watched as other portraits were made and observed the process Anderson-Staley took to prepare the tintype plates, expose the plate with a person or small group of people sitting for exposures; commonly in the neighborhood of 10 seconds. This is an eternity compared to the ability of a person to snap and post a photo on Instagram in less time than it takes for Anderson-Staley to make one exposure. It is a beautiful process and resulting image transported me back to first time I ever saw a photographic image developing the darkroom. Pure magic.

I sat down that same morning with Mary Goodwin and had a discussion about how the APC came into being and she gave me a tour of the gallery. Mary has previously served as Associate Director at Light Work in Syracuse, NY, and she actively contributes to photo events and workshops around the country, and she is the founder and publisher of photo books at Waltz Books. She hopes to incorporate some of the same purpose in Indy that Light Work serves to its home community. We discussed the first exhibition the center hosted: [hyphen] American by Keliy Anderson-Staley. The exhibition was in tandem with a tintype workshop and portrait sessions. Keliy’s growing collection of tintype portraits in the project, mine included, would be exhibited along with historic tintype photos from the Indiana State Museum collection. The main focus of the exhibition showcased portraits made during her stop in Indianapolis in June 2019, as well as subjects photographed in other American cities from New York to Cleveland to San Francisco. 

After Mary and I spoke for a while, we were joined by another of the APC founders, Adam Reynolds and the discussion moved into the direction the center would take for exhibitions in the coming year.  The third founder of APC is Craig McCormick. Craig is an architect and photographer and is a Principal at Blackline Studio for Architecture, founder of procurement and maker company Co+Effect, and creator of MarshallStudios.net. Craig is active in the photography scene in Indianapolis, and boards for arts organizations including Harrison Center for the Arts, Big Car, and Pattern. 

The second exhibition hosted by the center was also held at Tube Factory from Nov 1st to Nov 22nd 2019.  Respecting POTUS & National Trust was an exhibition that featured work by Andrew Miller,  whose interiors, architecture, and portraiture explores the intersection of people and politics that is found in the urban environment. The other images in the show were by Jay Turner Frey Seawell who explores appearances and perceptions of historical structures to political spectacles and media culture, and they are all inextricably tied to superficial appearances and perceptions.

The third exhibition hosted by APC in 2019 was Is Everyday Extraordinary? A Photography Show. This exhibition was hosted in partnership with Indianapolis art venue, Gallery 924 for the month of November  as well. Is Everyday Extraordinary? was billed as an exhibition that celebrates photography’s power to extract the extraordinary from everyday moments. The show featured work by photographers based in central Indiana, and work from about three dozen photographers was shown. I’ve shown work in gallery exhibitions only a handful of times in the past ten years; as online exhibitions are the norm now. It was great to view the work in that setting and talk with other photographers in the show. One of my professors from college, Mark Sawrie, had several pieces in the show as well. It is always an honor to be included in an exhibition alongside work made by the people who I learned from.

Acquiesce by Mark Sawrie

It’s difficult to stop myself from coming up with some optimistic statement on the outlook for photography in the coming year. What does 2020 hold for Indianapolis and the midwest in general? I have felt for a while that serious events and meaningful work gets created somewhere else; and if it starts out in the squishy areas of the midwest, it quickly heads for someplace like Chicago, Cincinnati, Madison, Detroit, or Kansas City. If the author John Green can develop an affection, dare I say pride, for Indy, then who am I to argue? Great work can come from here and maybe it just takes enough people to speak it into recognition. I will write more soon about the work of Keliy Anderson-Staley and her book, On a Wet Bough.  Let’s all start talking more about photography. Let’s have meaningful dialog and share the work we create.

Easton Nights at the Susquehanna Art Museum – Peter Ydeen

© Peter Ydeen
A selection of Peter Ydeen’s photographs from the series “Easton Nights” will be shown at the Susquehanna Art Museum in Harrisburg, Pennsylvania from November 1st through January 10th.

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 Headlines CONTACT Photography Festival

Solo exhibition in five parts throughout Toronto, Canada

Carrie Mae Weems, Untitled, 2017. Courtesy of the artist and Jack Shainman Gallery, New York, NY.

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.

MORE DETAILS

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

Aperture Foundation
547 West 27th Street, 4th floor
New York, N.Y. 10001
212.505.5555
aperture.org

 

Exhibition: Robert Kananaj Gallery – Emmanuel Monzon

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
Emmanuel Monzon
Photographs
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 – photography by Mandy Williams

Beyond the Reach of Rivers
Fishing Quarter Gallery, Brighton
Wednesday 1 May – Monday 6 May 2019 Open daily 11am – 5pm

Beyond Land 10_Mandy Williams
Beyond Land #10 © Mandy Williams


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.

Sea Level 09_Mandy Williams
Sea Level 09 © Mandy Williams

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 info@mandywilliams.com / 07817 397 747 / https://mandywilliams.com
Fishing Quarter Gallery, 201 Kings Road Arches, Brighton BN1 1NB
info@quartergallery.co.uk / 01273 723064

Rust Belt Biennial – Exhibition Call for Entries

RUST BELT BIENNIAL

Wobneb Magazine is a proud supporting sponsor of the 2019 Rust Belt Biennial. An open call for entries has been announced, and full details can be found at https://www.rustbeltbiennial.com/

ABOUT

We are thrilled to introduce the first RUST BELT BIENNIAL, a celebration of photography with work realized throughout the Rust Belt Region in all its manifestations.

This land, its people, the pride and the struggles, the patina of the past and above all, the histories and memories ingrained in the soil across the region. It is time to make new memories and new histories, while revisiting and reevaluating old ones; It is time to start a new dialogue about the state of photography and it’s social, cultural and political effects in our society; it is time to give back to the photographic community but also the region; it is time for you to join us!

For our an inaugural Biennial we are grateful to have Andrew L. Moore as competition juror.

We are honored to collaborate with the Sordoni Gallery at Wilkes University, in Wilkes-Barre, Penn., where the Biennial will be held from August 27th to October 5th of 2019. Additional information regarding dates of the main exhibition with lectures and presentations will be published in the Spring.

The Rust Belt Biennial juried competition is hosted in an agreement between LensCulture and Rust Belt Biennial. By entering this contest you acknowledge you have read the terms and conditions. Once you click the “enter” button, you will be redirected to the LensCulture website so that you can sign up for an account and submit your entry through the online entry portal.

SUBMISSION GUIDELINES

We are looking for photographic bodies of works that explore the social and cultural realities that represent or make a commentary of this very important region within the American landscape.

Additionally we are looking for both in progress or fully realized photographic work in printed form.

Who is eligible?

Anyone and everyone are welcome to submit work that was created within the Rust Belt Region (New York, Missouri, Pennsylvania, Ohio, Indiana, Michigan, West Virginia, Illinois, Iowa, Wisconsin)

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Click here for a list of FAQs – or visit the website for the exhibition at www.rustbeltbiennial.com

Spring 2019 Exhibition

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!

Sense of Place Exhibition

The inaugural exhibition hosted by Wobneb Magazine - with essay by Rob Hudson

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.

A Pembrokeshire Triangulation -05 Rob Hudson
© Rob Hudson, from ‘A Pembrokeshire Triangulation’

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.

Al Brydon 2
© Al Brydon, from the ‘None Places’ series

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.

A Pembrokeshire Triangulation -22 Rob Hudson
© Rob Hudson, from ‘A Pembrokeshire Triangulation’

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”.

Al Brydon 3
© Al Brydon, from the ‘None Places’ series

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.


Ed Fetahovic
© Ed Fetahovic, Smaller Like Man, Perth, Western Australia  http://www.edfetahovicphotography.com

KathyShorr
© Kathy Shorr, Bench, Miami, FL http://www.kathyshorr.com/

Eric Moore
© Eric Moore, untitled, Saguaro National Park, Tucson, Arizona https://elmoore.myportfolio.com

Ethan Lo
© Ethan Lo, Omission, Hong Kong http://www.ethanlo.co.uk

Emmanuel_Monzon
© Emmanuel Monzon, Urban Sprawl Emptiness, Yucca Valley, CA https://admonzon.format.com/#1

Ritam Talukdar
© Ritam Talukdar, And the journey ended, Pondicherry, India https://ritamsphotocreation.wordpress.com/

RobTM
© Rob™, Roads, Lancashire, UK http://www.robtm.co.uk

Yuriy Pavlov
© Yuriy Pavlov, Sacred place, Saint-Petersburg, https://www.ypavlov.com/

Amanda Le Kline
© Amanda Le Kline, Origins, Strausstown, Pennsylvania https://amandalekline.com/

J. M. Golding
© J. M. Golding, At the frontier of the known world, northern California http://www.jmgolding.com

Anne See
© Anne See, Walking Among Giants, Muir Woods National Monument, Mill Valley, CA https://www.instagram.com/cheeksandchubs/

Cassinello
© Cristóbal Carretro Cassinello, Blue Almería, Almeria, Spain http://www.cccassinello.com

Amelia Morris
© Amelia Morris, Self Portrait as a Ghost, Indianapolis, IN http://www.thanksandsorryphotos.com

catherine_slye
© Catherine Slye, Nightlight, Tucson, AZ https://www.catslye.com/

Alexandr_Polyantsev_01
© Alexandr Polyantsev, Playground, Arkhangelsk region, Russia https://polyantsev.ru

Marc Sirinsky
© Marc Sirinsky, Plane, Leesburg, VA http://www.sirinsky.com

Kristel Collison
© Kristel Collison, Noticing the Unnoticed, Northern Pennines, UK, https://instagram.com//kristel.collison

Elizabeth Virgl
© Elizabeth Virgl, Oil Refinery, Roxanna, IL

Wioleta Kaminska
© Wioleta Kaminska, Inside Silence, San Francisco, CA http://wioletakaminska.com

© Aldebarán Solares, Untitled from Umbral series, Marsella, Fr
© Aldebarán Solares, Untitled from Umbral series, Marsella, France http://www.aldebaransolares.com

David Thackwell
© David Thackwell, The Wilderness – Prologue, Hooke Park, Dorset https://dthackwell.com

Jennifer Mayhall
© Jennifer Mayhall, Rite of Passage, Cincinnati, Ohio, https://www.instagram.com/inspiration_catalyst

Piercarlo Quecchia
© Piercarlo Quecchia, The New Tomorrow Myth, Gligino Hill, Dobrljin, Bosnia & Herzegovina https://piercarloquecchia.com

Tatyana Kolbatova
© Tatyana Kolbatova, Exit to, Saint-Petersburg, Russia, https://tatyanakolbatova.com/

Ellen Jantzen
© Ellen Jantzen, Equilibrium, New Mexico,  http://www.ellenjantzen.com/

Gina Costa
© Gina Costa,Neighborhood Night Stories, South Bend,IN, http://www.ginacosta.com

Mark Sawrie
© Mark Sawrie, Twins, Joshua Tree, CA https://www.artistslashsomethingorother.com

Allan Lewis
© Allan Lewis, Gin Parlour, London, ON, allanl.com

Abhiruk Lahiri
© Abhiruk Lahiri, Urban dreams, Delhi http://clweb.csa.iisc.ernet.in/res12/abhiruk.lahiri/phaotography

Nathan Gentry
© Nathan Gentry, Pittsburgh, Pennsylvania http://www.nathangentryphoto.com

Andy Mellor
© Andrew Mellor, Yesterdays, Blackpool, UK http://www.andrewmellorphotography.com

Peter Ydeen
© Peter Ydeen, Bath Construction http://peterydeen.com/

Louise Wateridge
© Louise Wateridge, Life After War -Syrian Refugee Child playing with a Pigeon in a refugee camp in Beqaa Governate, Lebanon https://www.louisewateridge.com/

Gildo Spado
© Gildo Spado, Topsy Turvy, Astoria Queens, NY http://www.gildonyc.com

Allen Morris
© Allen Morris, untitled, Milwaukee, WI http://www.allenmorrisphoto.com

Diane Fenster
© Diane Fenster, I Hear the Mermaids Singing Each to Each, Pacifica, CA http://www.lensculture.com/diane-fenster

Mirja Paljakka
© Mirja Paljakka, My place, Ylojarvi / Finland, https://mirjapaljakka.weebly.com

Nicolas Guillen
© Nicolas Guillen, Estivation, Orléans, France http://www.nguillen.com

Callie Zimmerman
© Callie Zimmerman, Turf, Fowler, IN http://www.calliezimmerman.com

Julia Ivantei-Ershova
© Julia Ivantei-Ershova, Guest, Saint Petersburg, Russia https://uabymtvk6xec.wfolio.ru/

SolaresEstefania
© Estefania Pec, Full and empty, México city https://www.instagram.com/keenkll/

Alison Benbow UK
© Alison Benbow, untitled, Liverpool, UK

Naomi Lofkin
© Naomi Lofkin, Finding Space, Dartmoor, England, https://naomilofphoto.myportfolio.com

Alex Cavalco
© Alex Cavalco, Waffle House, Milwaukee, WI http://alexcaval.co

Michael Bach
© Michael Bach, Rt. 32. Waterviliet, NY, January 2018 http.// http://www.michaelpbach.crevado.com

Devon DeVaughn
© Devon DeVaughn, RV, Eugene, OR http://www.devondevaughn.com

Martin Buday
© Martin Buday, Prophetic Kingdom, Milford, DE. 2018. http://martinbuday.com

Audrey Gottlieb
© Audrey Gottlieb, Utopia Parkway, Flushing, Queens, NY_www.audreygottlieb.com

Arthur Fields
© Arthur Fields, OBB, Vincennes, IN http://www.arthurfields.net

Tasha Lutek
© Tasha Lutek, Kitchen, Rockwood, TN http://www.tashalutek.com

 


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.
www.robhudsonlandscape.net
Twitter @RobHudsonPhoto
Instagram @robhudson_

Al Brydon’s ‘None Places’ by kind permission www.al-brydon.com.

Inside the Outside collective:
www.inside-the-outside.com
Twitter @inside_the_out
Instagram @insidetheoutsidegroup

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

Call for Entries – Sense of Place Exhibition

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.

Deadlines
Final deadline is 11:59pm September 30, 2018 (GMT-4:00). The exhibition will be posted online starting October 5 – October 31, 2018.

Theme
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.

Image Guidelines
Size: 72dpi, sRGB, 1000px wide
Save as .jpg
Submit Via Email

Submissions
It is FREE to enter. Send only ONE image to: wobnebmag@gmail.com
In the subject of your e-mail, type the name of the exhibition (example: SENSE OF PLACE)

© Cary Benbow, Night Crew, Greenfield, Indiana http://carybenbow.com


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 wobnebmag@gmail.com