Magazine


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© Donna Pinckley

Here is a body of work from another interesting photographer I met at PhotoLucida. Donna Pinckley showed prints from this series, "Sticks and Stones," which is a work in progress, sadly, as Pinckley continues to meet mixed race couples who experience verbal abuse because of their skin colours. 

Alongside teaching, Arkansas-based Pinckley has been making strong portraits for years. When you're done here, check out her colour work.

Read her statement below, and View the full screen magazine photo feature.

"For over twenty years I have photographed a particular social and cultural group of children. Before my eyes and in front of my camera they have passed through adolescence into young adulthood. My goal throughout has been to portray not how the world sees them, but how they see themselves.
 
"I began by working with one child at a time, but as my subjects have grown up and matured, people and relationships have replaced toys and skateboards, both in their lives and in my photographs--siblings and friends, casual acquaintances, and mostly recently, romantic partners.
 
""Sticks and Stones" began with an image of one of my frequent subjects and her African-American boyfriend. Her mother and I were catching up in the kitchen when she told me of the cruel taunts hurled at her daughter for dating a boy of another race. As she was speaking I was reminded of another mother in another kitchen many years ago, whose daughter had been the object of similar racial slurs. What struck me was the resilience of both couples in the face of derision, their refusal to let others define them.

"I have continued photographing interracial couples of all ages, aiming as always to capture how they see themselves, the world of love and trust they have created despite adversity. I began adding the hateful words they've been subjected to at the bottom of the images as a reminder of how the world too often sees them. For me, and I hope for viewers, the juxtaposition is stark and disturbing."
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Saint Ortho* © Eileen Clynes

Boston-based Eileen Clynes is a proudly recovering Catholic; she is also an exceptional person: a talented artist, a veteran of US armed forces, and a powerful head-turning presence. She thrilled me to bits with her modern-day saints when we met last April at the Photolucida portfolio reviews. 

Of this series she says: "Exceptional Holiness is inspired by growing up Catholic and having a fascination with religious art. The work is a modern take on traditional Catholic Saint cards, drawing inspiration from tchotchke-style religious art such as hologram last suppers and light-up Virgin Marys."

"I approach this work using a similar style where saints and holiness were portrayed, but also adding elements of political and social issues to explore what modern holiness might look like."

Read more about the modern day saints on the Exceptional Holiness website and over on Clynes' blog. You can pick yourself up a number of votive candles in the gift shop! But where is hologram Jesus??

View the full screen magazine photo feature.

*O Blessed Saint Ortho! With the grace
of God you are a powerful advocate for women
and the Patron Saint of restoration for a
woman's choice. To you I turn today as I enter
my menstrual cycle with heartfelt confidence.
O Blessed Saint Ortho! Please enlighten those
with political and religious agendas who wish to
control my right to take birth control.
Amen
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A Photograph of the Milky Way Eaten by Bacteria Found in Unpasteurized Milk © Marcus DeSieno

Marcus DeSieno makes spectacular imagery that is somewhat disturbing. From his microscopic parasites that I joyously selected for exhibition offline for Center for Photography at Woodstock's annual Photography Now! exhibition, and which he printed disturbingly large, to his perverse self-portraits; and now these glorious photographs of various bacteria eating film. Be simultaneously engrossed and grossed out by marvelous young Marcus. 

View the full screen magazine photo feature.

You can see images from "Parasites" on the Photoville Fence in Brooklyn, NY, this summer.
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© Joe Quint from his project "It Takes Us"

On May 23rd, 2014, news came of in a series of murders committed by a young man in Isla Vista, California, near the campus of University of California, Santa Barbara. Gun violence is a daily occurrence in the United States, but something about this incident tipped Joe Quint over the edge: he launched "It Takes Us."

"I happened to glance at that week's issue of People. The cover story was about some Kardashian wedding and there was a little blurb in the upper right corner about the shooting... with a subhead saying 'How could this happen - again?' Now, setting aside the disproportionality in importance of these two stories, I was struck by both the naivety and borderline irresponsibility of that subhead. 'How could it NOT happen again?' was my immediate reaction - why should we be surprised when - despite some small gains made in recent years by the gun violence prevention movement, there had yet to be anything remotely resembling a collective shift in our consciousness on the subject? 

"I became increasingly frustrated by inaction - my own, and the inaction of my country. I could no longer simply pay lip service to the importance of reducing the over 32,000 senseless and preventable deaths that take place every year. I want to show how the crisis extends far beyond the typical media narrative of urban violence to include domestic abuse, suicide, children being injured or killed by unsecured guns in their homes, and so many more tragic cases." Joe Quint
Photographs and audio will be on exhibit June 18-20, 2015, at Howard Scott Gallery in Chelsea, NY. 

View the full screen magazine photo feature.

Take action.
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© Lissa Rivera

Lissa Rivera came strongly recommended by none other than photography expert, author and educator Katrin Eismann, who is program chair of MPS Digital Photography at New York's School of Visual Arts. When Katrin calls, you listen.

Between them, Lissa Rivera with her partner and muse, "blur the borders of masculinity and femininity... the photographs tap into deep-seated narratives about gender, desire, freedom and taboo." 

For me, this lovely series is beguiling. Embracing genderqueerness, using fantasy to explore identity.

"Posed within the relationship of subject to photographer, and the public relationship of the photograph to its viewer, the camera transposes the private realm into public space, converting a private moment into public performance. The fantasy of dressing up transforms the experience of being photographed into one that fuses identity-creation with image-creation. By blurring the borders of masculinity and femininity the photographs tap into deep-seated narratives about gender, desire, freedom and cultural taboo." Lissa Rivera.

View the full screen magazine photo feature.
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"Vertumnus" © Klaus Enrique

Klaus Enrique's own exuberance is evident in this series of photographs in which he pays homage to the Italian portraitist Arcimboldo in spectacular style. Referencing both the 16th century master's own works as well as updating his subjects to reflect cultural and political concerns, Klaus' images are highly detailed, impassioned, and splendidly executed. 

Klaus grew up in Mexico City. He studied genetics at the University of Nottingham, UK, and received an MBA from Columbia Business School, US. Most of his working career was spent as a freelance IT consultant before he turned to sculpture and photography, which he studied at Parsons and at the School of Visual Arts, in New York. We met at the outstanding Photolucida Portfolio Reviews in April, 2015. Klaus had the foresight to email me beforehand, and included one of his images, saying he was looking forward to meeting me. Simple things like this make me happy, especially when the work is this compelling!

Take your time to appreciate the full screen magazine photo feature. These are really, really good value.

See several more of these fantastic portraits over on Klaus' website.

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Bonus Gandhi! © Klaus Enrique

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aCurator and Klaus Enrique under a triple rainbow. April, 2015, Portland, Oregon. Thank you Photolucida!
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© Terri Gold

Artist Terri Gold explores "universal cross-cultural truths," and for this chapter of her ongoing series "Still Points in a Turning World" she headed to Niger.

Terri says: "There has been no tourism in Niger for six years now. There were just four of us. The woman leading the trip, Leslie Clark has had a foundation there, The Nomad Foundation. We were the only guests at the festival amid thousands of nomads - being nomads there is no fixed date or location we had to patiently search and were thrilled to finally find their annual gathering. 

"There was nothing done on our behalf, this was the most authentic experience I have ever witnessed. We had 18 armed guards which the government insisted we travel with. All had Kalashnikovs and there was a 50 mm machine gun on each truck. One ahead of us and one at the rear. I have never traveled like that before. We were graciously welcomed by the nomads but right after we left al Qaeda spilled over from Nigeria and we would have had to cancel the trip.

"In this remote corner of northern Niger indigenous tribes are holding on to their way of living: in tune to the rhythm of nature, treading lightly on Earth, leading their beloved animal herds to precious water sources and staying true to their traditions. Surviving in these sunbaked landscapes, each tribe has created a richly unique identity. Yet the timeless past will soon meet the imminent future. What will be discarded and what will be treasured?  If we appreciate the mysteries of every realm, we may gain a deeper understanding of that which lies both behind and ahead of us." 

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© Samantha Geballe

I met Samantha Geballe at Photolucida last April and I was impressed with her ability to speak about her incredibly intimate photographs, at her young age. She has a wonderfully frank attitude, and both I and two of my fellow reviewers, who will be thrilled to see the work here, were knocked off our feet.

View the full screen magazine photo feature.
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© Bill Yates

Better known for his aerial photography, Floridian Bill Yates recently revisited a box of negs and prints from two seasons of photographing at the Sweetheart Roller Skating Rink in the 70s. Editing 800 shots could not have been easy - I've had a hard enough time choosing what to publish in the magazine. Thanks to Bill for making the effort to get this fabulous body of work digitized and out there. An exhibition showed recently at Gallery Kayafas in Boston, and it was just announced that images from the series have won a place on The Fence in Atlanta and Houston later this year. An exhibition will also be opening at the Ogden Museum of Southern Art in New Orleans, on Oct. 3rd, 2015. Expect to see more!



"I had just purchased a medium format, twin lens camera and, as usual, I was out riding around looking for something to shoot. I happened upon an old wooden structure built in the 1930's in the Six Mile Creek area of rural southern Hillsborough County, Tampa, FL. The sign on the building read "Sweetheart Roller Skating." The owner was just driving up. "Mind if I shoot some pics?" I asked. "Sure, but if you want some good ones, come back tonight - this place will be jumpin'." That weekend in September 1972, I ran eight rolls through the camera. After that I photographed nearly every weekend until late spring of 1973. I was twenty-six years-old.

"That first weekend I was met with curiosity and suspicion by the skaters. The next weekend I returned with proof sheets which I stapled to the wooden siding of the rink's interior. For some, complete disinterest in the images. For others, it was as if they were staring at themselves in the mirror for the first time, as though they had rarely seen photographs of themselves -- they couldn't get enough. The skaters became like actors parading their bodies, confronting one another, competing for an audience -- the camera. Though the skaters may not have thought of themselves on a stage, they were no less explicit and physical in their stagecraft. Some of the scenes were unapologetically theatrical. Young men aggressively wrapping arms around their girlfriends' necks, gesturing uncomfortably for the camera -- a sexual come-on, an uncensored performance. Yet others were deadpan. I soon became wallpaper -- I was there, but I wasn't -- just snapping the shutter." Read more on the Sweetheart website.

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© Bill Yates
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© Lindsay Morris

May all our future children be so encouraged! In 2007, Lindsay Morris began attending a summer camp for gender-creative kids where they could have the freedom to be as fabulous, or not, as they wish, whilst partaking of the usual summer activities. Over the years, Lindsay has made a wonderful series of intimate and real and loving photographs, which appeared on the cover of the New York Times Magazine in 2012, and which have subsequently been widely published. Many have been collected into a book: 'You Are You' is out now from KEHRER.
 
A new generation has arrived and is ready for acceptance.


You can catch an exhibition in San Francisco at RayKo, beginning mid-May, and in New York, at ClampArt, in July. Or, if you're on the other side of the pond, the work will also be on show at the Hamburg Triennial, also in June. And visit the You Are You website.
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