Whilst I loved Fong Qi Wei's 'Exploded Flower' series, I was curious to see what he would come up with next. Here we are with 'Floral Swirls.'
Qi Wei says "'Floral Swirls' is a series where I delve into sub-theme of colors in flowers. Just as art wants an audience's attention, flowers have evolved to demand attention from pollinators like bees, humans, birds and so on. A main feature of flowers are their colors which are distinctive and conspicuous. The set of images abstract out the colors of various flowers from their intricate structure (as investigated in my 'Exploded Flowers' series). As you look on this series you should find your attention being drawn to a select few, and perhaps ponder why that certain color combination is attractive to you."
Repeat contributor and good mate Rob Hann makes collaborating easy and fun. I share his Brit-ex-pat love for the American highway so I am pleased to once again chuck you in the passenger seat and take you away for a bit.
"For my latest road trip I wanted to travel around the edge of Texas so that's what I did. I flew into Houston and drove a rental car anti-clockwise all the way round, with a couple of trips into the interior, til I got back to Houston. Here are some of the pictures I took along the way." - Rob Hann, August 2012
Enjoy the rest of summer! (apologies for being Northern Hemisphere-centric)
Galerie de la Main de Fer is pleased to announce 'Queer Kids' by M. Sharkey, a solo exhibition of works produced over the past six years documenting gay youth in the United States. 'Queer Kids' will be on view August 31 - September 30, 2012 (coinciding with the Visa pour l'Image photo festival). An opening reception will be held on Friday, August 31st from 6 - 8 pm.
Those of you paying attention will know that I feel strongly about these.... which makes it even more irritating that nobody is paying for me to go to Perpignan. Who do you have to sleep with 'round here...
For those of you who will be there, submit your images of the show and I'll publish some here in the blog.
I reviewed Wayne Lawrence's Urban Beach Week, Miami, series, and interviewed him last year for Emerging Photographer. What a pleasure to engage with a young photographer who came a little later to the art and who has embraced exactly what it is they love, with marvelous results. Over the years of representing the estate of Yousuf Karsh I have learned a lot about portraits; we benefit from the connection Wayne is able to make in such a short time.
"Orchard Beach, a mile-long sliver of constructed shoreline, has long served as an oasis for generations of working-class families living in an environment defined by struggle, yet is embedded in the imagination of many as a ghetto beach carrying all the stereotypes associated with the hood. As the only beach in the Bronx, the stigma attached to Orchard is due in part to the complex history of a borough stained by a tumultuous past and loaded with racial, cultural, and socio-economic undertones. With this series, I determined to create a body of work in celebration of this community at Orchard Beach and have sought to exalt the souls who have allowed me to share their space.
I began the journey to the heart of the Riviera at a crucial point in my personal life. I was a father and wounded, having witnessed the birth of my son a few years earlier, only to experience the most profound grief a year later when my older brother David was brutally murdered. Finding a sense of community at Orchard Beach has allowed me the time and space to reflect on the importance of family and to find my voice as a photographer. I've approached this work instinctually and see every person portrayed here as magnificent in their own way. To stand face-to-face with the souls in these images is to accept them as they are without prejudice because ultimately, we are all one.
Bearing witness to the polarities of human existence is what drives me to do this work. I am interested in examining the totality of life with all its complexities from our entry into this world as raw potential to the day we no longer exist."
Oh Happy Monday! A welcome opportunity to publish a photo of David Hasselhoff and this hysterical news item.
David Harry Stewart from the Casey stable made a photo of David Hasselhoff holding an iced
coffee for Cumberland Farms. After it was sent into stores as a cut-out
to highlight their yummy iced coffee, patrons started stealing David's
Hoff and posing with him on Twitter. 550 have been stolen with only 20
left. The story went viral and here we are, 2012, with Hoff still making headlines.
Here's what David had to say about David.
"Working with David Hasselhoff is a blast. Super fun, super professional, and able to turn on The Hoff character on command. He closes his eyes, pauses for a moment, then Hasselhoff the man turns into meta-Hoff the character. It's amazing to watch. I would ask for more of a smile, or a surprised look, and he would just start riffing on it through his Hoff character. In between takes we would chat about surfing or Baywatch, and then when it was time to shoot, out of the skin of this really quite regular guy came the HOFF. Such a comedian at his own expense. Love him.
The Hoff-Cumberland Farms campaign is like nothing else I have ever done. In an age where people are worried about internet copyright theft, here we have people loving these images so much, they're actually stealing them out from stores. I love it! To go into a Cumberland Farms and run out with a stolen ad shows, real dedication. Never in all the ad campaigns I have done has there been anything like this. I'm so happy that people will be able to enjoy The Hoff in the privacy of their living rooms for years to come. It is enormously flattering."
There's a long piece in the Guardian this weekend 'If we have to go with the Hoff to pay the rent, let's go with the Hoff' and below is my personal favourite Hoff moment.
Thanks to Alex Geana and the Casey crew for submitting this. You guys made my day.
"One Person Crying: Women and War, is a 28-year, personal global photo essay that addresses the immediate and lingering effects of war on women. In an endeavor to reflect on war from what I consider to be an under-reported perspective, the project brought me face to face with hundreds of women who endured and survived war and its ancillary experiences of loss, pain and unimaginable hardship. I traveled the world photographing, interviewing and writing down their histories, noting gestures and gruesome details, in order to document how war irrevocably changed their lives. Women are the touchstones for families and communities and are often relied upon to keep everything held together during a war or conflict. Often, there is no time for them to assess their own traumas afterwards, let alone speak of them in order to process the experience. I was compelled to put faces and give voices to the other side of war, with no judgment as to which war was worse for its victims. There is no blood or any guns in the images, just the record of lives lived with a never-ending post-war backdrop."
Marissa has launched a Kickstarter Campaign to help with the expense of producing a traveling exhibition of the work. Funding starts at $1 - rewards start at only $25 - lend a hand?
"The consequences of war for women in countries, cultures and communities that are directly affected by it, have often been overlooked. My main hope for this project is to show that war doesn't discriminate how it metes out pain or suffering, that women are basically the same everywhere in how they endure war and live with its aftermath into their post-war lives. I also hope that this project inspires dialog and activism, in order to bring on-the-ground psychological and social support to these war-impacted women.
Addressing this subject started in response to immediate political and social events that I covered as a photojournalist starting in the late 1980's. After 10 years, I formalized it into a documentary project and continued it from that perspective. In 2009, it was during a trip to Bosnia and Herzegovina and Serbia, that I fully understood the deeper motivation for this work. My parents were Holocaust refugees and my paternal grandparents, and great-grandmother were killed in a 1942 massacre in Novi Sad, Yugoslavia. On the final day of that trip, I found my grandparents' former home, and also found their names on a memorial plaque by the Danube River, dedicated to the numerous massacre victims. It felt like I had found them for the first time.
In March/April of 2012, I went to Vietnam for the first time, in order to finally conclude the arc of the project. The war in Vietnam was my coming-of-age war and greatly influenced my formative years, not only as a person and activist, but also as a photographer."