has always impressed me, ever since as a youngster she tipped up in my office with a bunch of contact sheets of Morgan Spurlock around the time of 'Super Size Me'. Gina has gamely tackled New York City's underground Sandhogs, the guys who drilled our city's water tunnel (featured in the launch of aCurator
magazine) and is working on her (sadly, ongoing) 'American Widow Project'.
Her latest exhibition is from the project on female bull fighters she executed in Spain and Mexico over the past 5 years, portraying elegance in a brutal circus. "I was curious to meet the few tenacious young women who have upended centuries of tradition by penetrating the antiquated, machismo world of bullfighting."
More info at Hous Projects
, where the exhibition opens on May 5th and runs through June 25th.
I'm squeamish, so I chose a few images that do not show any pierced flesh.
I had the pleasure of meeting the artist Anne Arden McDonald
at a solo exhibition in Brooklyn recently. Anne works in a really wide range of media, including photographic prints that she makes both with and without cameras. The recent installation includes prints measuring up to 90" in some cases along with smaller prints that feature details. In intricate processes Anne makes contacts prints using various objects, bleaching and manipulating the resulting prints (in one case, painted with "medicines, spices and household cleaners").
As a person with almost no patience I am fascinated and in awe of Anne's work. Here are just a couple of examples of her photography and there are more series on her website
.Bone, 2011, 105 x 50 ins.
Bleach painting made with spongesFragility, 2011, 126 x 50 ins.
Contact print of a pile of layers of glass and eggshells, exposed with a flashlight
Cells, 2007, 69 x 50 ins.
Contact print of circular and spherical objectsAll images © Anne Arden McDonald
Talk about stumbling upon... I was asked to answer some questions for the Parsons School of Design MFA Photography Catalog and whilst browsing last year's I saw this and just had to post it.
Bobby Davison has some most intriguing work on his website, Untitled Proof
, that you need to check out.
"Interstate 40 divides the state of Arizona from north and south where two cultures touch. AAA maps call it Indian Country to the north and state land to the south. I went to photograph the Four Corners, inspired by an image Robert Frank took in the Americans, Number 35 US 66, between Winslow and Flagstaff, 1955. Four adults stand over a blanket covering the bodies of a fatal car accident during a snowstorm outside Winslow Arizona. As they gaze on the victims under the blanket multiple stories unfold about the place and the incident. I wanted to look under that blanket and get the story to understand what had happened, somehow put the incident to rest."
"With camera in hand I looked under the blanket to find the borderlands of two cultures unresolved migrating along the crossroads of the past and the future. A border that tries to preserve an old culture with respect for the land and one that has tried persistently to take advantage and change that land into the next American theme park. But with each attempt the land takes back in an attempt to cultivate the truth leaving hints of the last attempted theme park. This is an ongoing dialogue that will move forward with additional trips and one that will not answer the query, as the blanket may never be lifted from this accident." - Kurt Jordan
, April 2011View the full screen magazine photo feature
The first photo book I ever bought myself had a Robert Frank photograph on the cover. At the time, 16 years old and living in the suburbs of London, I had no idea of the weight and influence of his work. It's fulfilling to be publishing this work of Kurt's as I continue to learn about photography and its important place in history. - aCurator, April 2011
Receiving an email from Michael Massaia
whilst on the hoof this week, I first looked at these images on my silly little iPhone. They brought a big smile to my face, both because they remind me of the freedom of buying fireworks when I was a kid in London (they're illegal in New York) and because I love how he consistently produces these beautiful, dark, moody images across all his various portfolios.
'Quiet Now' is Michael's first still life portfolio; as with most of his other work he shoots on large format b/w film, develops in Pyro
, then produces handmade platinum prints. Gorgeous.
One might think of washing as monotonous, but Sivan Askayo
's 'Laundry' series is a delight: sometimes sea creatures, sometimes notes on a stave. Sivan has been to Madrid, Barcelona, London and Buenos Aires, to snap anonymous smalls.
"Laundry project begun in the vibrant alleyways of Tel Aviv's Jaffa
neighborhood and has become an ongoing project, taking me to Madrid,
Barcelona, London and Buenos Aires to snap the anonymously displayed
drying clothing. The project, that was named 'Intimacy under the Wires'
reveals images of laundry both intimate and unconfined while their snoopy character makes laundry, a seemingly prosaic subject, all that more intriguing."
I spent a long time wading into Sonja Thomsen
's work. Although each of Sonia's series warrants its own feature, I decided to chose from across Oil, Water and Re:Current. I encourage viewers to visit Sonja's own site where the layout and information add to the appreciation of her work.
Thomsen has been widely exhibited across the US since graduating from San Francisco Art Institute in 2004. Currently, images from "Oil" can be seen as part of the exhibition Earth Now: American Landscape Photographers and the Environment
at the New Mexico Museum of Art
, now through August 28, 2011.View the full screen magazine photo feature
"The winter of 2006 diverse circumstances came together, in which oil seemed to be the unifying factor. Trying to navigate my relationship to this war, my family, and my consumption of noxious petroleum I began photographing oil. I remain captive of this elusive and complicated substance that affects our economy and politics."
"Re:Current considers time and its cyclical nature through an installation including projection, thirty-seven still images, and motion sensitive light boxes. Conceptually the installation points to time's ephemeral constancy and considers how the stillness of a photograph can represent and distort this seeming contradiction."
"Churn is a series of 7 photographs of Lake Michigan in winter. Watching the quiet surging under the surface of water is a visceral experience. I am drawn to the aggressive movement hovering under the surface and the contrasting soft palette of the water." / "Swept is a series of 12 photographs of a white river. Each image is taken seconds apart capturing the water's response as the wind so sporadically dances across it. Each moment is its own and through the sequence one can see the invisible." / "Surface is a series of 17 images. The series explores the potential of waiter and the seductiveness of looking. Small puddles of water become glass, dense fog, toxic haze, bodily fluid, and primordial soup in my viewfinder. The unfathomable potential of water to sustain life is a phenomenon that preoccupies me."
Not only are our friends at Snap Galleries
exhibiting my friend and long-time business partner Michael Putland's Triptychs
this month (nice amount of press guys!), they're also showing Iain MacMillan's Abbey Road Beatles session, and offering the rare prints as a set. Evidently, owner Guy White busted out his loupe:
"One of my favourites is a mysterious lady in a purple top who appears deep in the shadows on three of the six frames. Who was she? She probably doesn't even know that she was there that day - but someone will know who she is. During our research, we have discovered a dozen other bystanders, just like her. It's fascinating to me to think that if a different frame had been chosen as the cover, some of these other characters might have been on the album sleeve. It's also interesting to have a set of photographs with the actual frame numbers visible, so we can establish with absolute certainty the order of the images."
The full story plus an online catalogue can be viewed on Snap's website
but of course if you're in London you must go and see in person.
I met photographer and fellow Brit Lucy Helton at an ASMP portfolio review last year and was thrilled to bits and really impressed when she emailed me about this new venture.Sombra Projects
was co-founded by Lucy, Tiana Markova-Gold and Tom White and is "a platform for documentary photography and socially conscious art. Utilising multiple methods of distribution including community-based projects, online showcases, site-specific exhibitions, print publications and affordable fine art prints, our goal is to make documentary photography accessible to as wide an audience as possible. Working with contributors from various disciplines, we aim to present documentary-based work in innovative ways, enhancing the experience of the viewer and providing an arena in which engagement and debate are both welcomed and encouraged."
These are from their latest featured project: Fondation des Jeunes Haitiennes Optimistes, photographed by Tiana Markova-Gold with words by Jocelyne Firmin.© Tiana Markova-Gold
Maria de la Iglesia
was born in Madrid and currently lives in London. She took a Bachelor Honors Degree in Photography in Dublin Institute of Technology and a Master in Photojournalism and Documentary Photography at London College of Communication. There are several very interesting projects on her website but I was most taken by 'Pueblo'.
In Maria's words "'Pueblo' is a portrait of a Spanish village in 2010. The pictures create an intimate, sometimes absurd representation of a remote village in a period of economical crisis. Elderly people are the protagonists facing the decline of the population. The land shapes the village and its characters, suspending them in an age from long ago. This is a place where animals roam the streets and death is ever present, a place that refuses to accept modernity, preferring to stay close to the ghosts of tradition... 'Pueblo' is not only a personal journey into the absurd, but it has also become an exploration of the human condition. It is a visual and psychological observation that looks with irony and dark humour at the individuals themselves in a context of contrasts."View the full screen magazine photo featureMain street, 2010 © Maria de la Iglesia