Magazine


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With her two daughters, Sandra Bacchi addresses motherhood, and coping with food allergies and learning difficulties.




Video filmed and directed by Jonathon Bartley

British artist Andrew Jackson explores the meaning of home, belonging, and place, with a concentration on the African diaspora. 


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 Image: © Daniel Handal, "Yellow Parisian Frilled Canary (Acqua Santa)," 2017; Archival pigment print, painted frame; Courtesy of ClampArt, New York City

 ClampArt is pleased to announce "Daniel Handal: Pajaritos" - the artist's first solo show with the gallery. aCurator is thrilled to watch the birdies in full screen in the magazine. I particularly love the way the matching frames elevates these portraits, and how much leg work the artist had to put in finding the correct paint colors. "Pajaritos" is on view now through July 7, 2018 at ClampArt, 247 W 29th St, New York, NY 10001.

Finding exotic bird keepers in New York City, the artist travels to their homes with a portable studio resembling a pup tent with a variety of pastel-colored backdrops that include a place for a perch. He picks an appropriately hued backdrop to situate in the tent along with the bird, and when the excitement settles and his subject rests, Handal shoots the portrait.

Due to their ability to soar far above the earth, birds universally represent the idea of freedom. Handal embraces this symbology and employs the birds in a form of self-identification. The artist was raised in Honduras in Central America where "pajaros" is a derogatory term for gay men. Growing up in a machismo Hispanic culture, Handal struggled with his own sexuality as a youth, worried about his ability to be true to himself amidst the stringent societal pressure to conform. Read more about the series and its underlying message over at ClampArt.


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 This is the first feature by one of the students who attended my "It's Shot, Now What?" marketing and branding classes in Norway. Anette Asbjørnrød captured my attention with her variety of work. She brings a certain empathy to all she does. "Off Season" is a classic set of photographs of a coastal town during the winter, enhanced by Anette's eye and the muted palette.


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 Bill Armstrong's Mandalas are one element of the ongoing Infinity series that he began in 1997 and I am thrilled to publish a handful in the magazine - I find them especially mesmerizing on black and in full screen. Set aside some time and view the full screen magazine photo feature.

Bill's statement:
The Infinity series is an extensive body of work that I have been photographing since 1997. It includes a wide range of portfolios, from figurative to abstract, that are made using my unique process of photographing found images extremely out of focus with the camera's focusing ring set at infinity.

My unique process of appropriating images and subjecting them to a series of manipulations - photocopying, cutting, painting, re-photographing - transforms the originals and gives them a new meaning in a new context. Extreme blurring makes the edges within the collages disappear, so the photographs appear to be seamless, integrated images. This sleight of hand allows me to conjure a mysterious tromp l'oeil world that hovers between the real and the fantastic. It is a world just beyond our grasp, where place may be suggested, but is never defined, and where the identity of the amorphous figures remains in question. It is a world that might exist in memory, in dreams, or, perhaps, in a parallel universe yet unvisited. 

The nature of visual perception intrigues me: how the eye continually tries to resolve these images, but is unable to do so, and how that is unsettling. And I am drawn to the idea that we can believe something is real, while at the same time knowing it is illusory; that the experience of visual confusion, when the psyche is momentarily derailed, is what frees us to respond emotionally. 

At the same time, the subject of these collages is color. Extreme de-focusing enables me to blend and distill hues, creating rhapsodies of color that are meditative pieces - glimpses into a space of pure color, beyond our focus, beyond our ken.

GODLIS_Miami-b.jpg Miami Beach, 1974 © GODLIS

GODLIS is widely known for his photos of the punk scene in New York... the rest of his archive is also rich and fabulous. Let's sneak back in time with him to Miami Beach, 1974. 


"I took these photographs in late winter 1974, when I was in Miami Beach for 10 days visiting my (Jewish) grandmother who lived in the area now known as South Beach. I was on a short break from my first year of photography school up in Boston (East Cambridge, a school called Imageworks). By that time in 1974, I was already knee deep into "street photography",  and had already burned my way through various photography books: Henri Cartier-Bresson's Decisive Moment, Robert Frank's The Americans, as well as the work of Garry Winogrand and Lee Friedlander. 

"But it is Diane Arbus who echoes through all of these Miami Beach 1974 photographs. Diane Arbus died less than 3 years earlier, in the summer of 1971. And by fall of 1972 a tremendous exhibition of her life's work had opened at the Museum of Modern Art in NYC. Quite unlike any photo exhibition before, there were long lines of people daily at the Museum to see her work. I took a trip (a pilgrimage) to New York to see that show, and got myself a copy of the now legendary Arbus Aperture Monograph. And a little over a year later I took these pictures in Miami Beach. This is no coincidence.

"At age 22, Miami Beach was somewhat familiar territory to me. I had been on many visits to Miami as a kid visiting my grandparents. So I was quite familiar with the mix of palms and  kitsch. There are photos of me in my Davy Crocket shirt under the palm trees. But now, instead of having my picture taken, I was doing the picture taking. Shooting over those 10 days with my Pentax Spotmatic and a wide angle lens, I was welcomed by the Jewish retirees playing cards - "why do need my picture?" "You're such a nice boy, you should meet my granddaughter". I spent every day wandering along Ocean Drive and accompanying Lummus Park lawns, nearby Washington Street, the Dog Tracks and the old Pier. I took trips to the Zoo, and explored the Lincoln Road Mall where I found the "golden girls" protesters demonstrating for Nixon's impeachment, less than two years after the 1972 Republican Convention had nominated him in Miami Beach itself. I went back to photography school with over 50 shot rolls of Tri-X, and realized I'd just turned a corner. 

"When taking these pictures, I remember following the advice of Garry Winogrand. Look through the lens carefully, and be very aware of what you include between the four edges of the photograph. Keep your eyes open and concentrate. I believe that it was during this 10 day break from photography school in Miami Beach in 1974 that I first found my "eye."" - GODLIS


Out now from Matte Editions: GODLIS: History is Made at Night


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 Ginger © Kevin Horan

 Kevin Horan's last feature in the magazine was his gorgeous and hugely popular series of goats and sheep. I am happy to publish some more of his barnyard friends, this time it's the pigs. As an almost-lifelong vegetarian, I wonder how you could eat these guys, but as Kevin says, "Of all the animals we eat, they're the only ones who will return the compliment."

"Farm animals are products. They produce fiber or eggs or milk or horse power. Pigs are grown for only one thing: meat.

Having moved to a place where my neighbors are barnyard animals, I am compelled to see them as individuals. Through portraiture, I can regard them as non-human persons. I can attempt to bridge the species divide. I can try to see what's going on inside the pig mind. Anyone who spends time around these animals knows they have particular personalities. Can the camera let us see them? Or are we seeing the illusion that's in all portraits?


Pigs are uncanny - clearly a different order of beast from other farm animals. They're so like us that they're used in medical education, and their heart parts and lungs can be transplanted into humans. They share many diseases with us. They prefer a clean place to eat and sleep, unsoiled by feces and filth. They like to watch TV and drink beer, and given the opportunity, they grow fat and sedentary. Of all the animals we eat, they're the only ones who will return the compliment.

And they're clever. They can figure out gates and latches and switches, and human relationships. They're self-sufficient. They're on the job. They're watching, and they know how to get what they need."

"Dogs look up to you; cats look down on you," Winston Churchill observed. "Give me a pig - he looks you in the eye and treats you as an equal."
Thanks to Kevin for his writings. 

#GoVeg! 


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 Long Goodbye, 2017 © Michael Massaia
44" x 60" Selenium-toned gelatin silver print

 Michael Massaia started photographing New York's last remaining pay phones in 2012. "It's in the Leaving" continues in a similar vein to Michael's previous portfolios, his nods to the recent past, its echoes, and to childhood; although one may perhaps feel less nostalgic towards this subject, not missing the days of sharing a mouthpiece with hundreds or thousands of strangers.

"While almost none of these phones still function, there is subtle proof of life inside each one. Their main function now is to seemingly act as totems pointing to less knowing, less connected, and, perhaps, better/less revealing times."

Available in real life as impeccable hand-made selenium-toned gelatin silver prints.



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The artisan at work

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 Barnes Collection, Philadelphia © Ben Marcin

 Ben Marcin photographs everyday structures such as walls, parking garages, office buildings, stairwells, sidewalks, and warehouses. Ben says he "is not interested in documenting these structures but in extracting certain elements from them to create photographs that describe shapes and forms, patterns, geometry and color." Most successfully! 

In this project, he traversed several museums, photographing everything but the art. "Marcin set out to create a work of art by using the basic infrastructure of a building that houses masterworks of arts. He spent hours inside each museum photographing the ceiling lights, hand rails, display cabinets, air conditioning ducts, auditorium seats - anything he could think of other than the actual art hanging on the walls. Occasionally this led to interesting conversations with the security guards. Later he built very complex grids using selected individual photographs, thus presenting a virtual deconstruction of each museum. All of the photographs in the composites are straight images."



Go see: Ben's solo exhibition at C. Grimaldis Gallery in Baltimore, now through December, 23, 2017 (in conjunction with another aCurator favorite, Tara Sellios).

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 © Rob Hann

 Rob Hann shares another of his perennial road trips, from earlier this year, this time covering Arizona, California, Oklahoma, New Mexico and Nevada. View the full screen magazine photo feature, and if you're in New York City, wander down Prince Street and see if Rob is there selling his lovely and affordable prints. Holidays are coming! 

Writes Rob: Music plays a big part in my road trips. I travel alone and the playlists I take with me set the mood when I'm out there. The strange and restless road songs on Joni Mitchell's 1976 album "Hejira" are always with me.

These lines from the song "Black Crow" seem to say something about what I'm doing when I'm on the road.

There's a crow flying
Black and ragged
Tree to tree
He's black as the highway that's leading me
Now he's diving down
To pick up on something shiny
I feel like that black crow
Flying
In a blue sky

Go on Rob Hann's previous road trips:
Lone Star State of Mind

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