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.
You can see images from "Parasites" on the Photoville Fence
in Brooklyn, NY, this summer.
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
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.
"Vertumnus" © 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!
Bonus Gandhi! © Klaus Enrique
aCurator and Klaus Enrique under a triple rainbow. April, 2015, Portland, Oregon. Thank you Photolucida!
I met Samantha Geballe
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.
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
© 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
In Natan Dvir
's beautifully composed series, "Coming Soon," the effrontery of New York's mammoth advertising hoardings, garishly peddling their goods to a seemingly captive audience, is juxtaposed with the daily life that obliviously potters on beneath them.
"This new series of pictures continues to explore the relationship between the near-future illusions and physical reality. While new and advanced ways of consuming information create a growing world of virtual, mobile, and personalized ads, the city itself becomes an advertising medium. The immense billboards gradually permeate the whole city, from SoHo to Time Square. Always in the peripheral vision, these ads turn pedestrians into passive spectators. People inhabiting the space underneath are pulled, unaware, into a staged set, as the reality of the street merges with the commercial fantasy of the advertisements."
Images from the series have been widely exhibited and published and their popularity is not wavering. Catch the latest show at Anastasia Photo
, in New York's Lower East Side, on now through April 30, 2015.
Italian photographer Stefania Notizia
is educating us this week. The Turkish Yörüks live in the eastern part of Macedonia. The Yörüks are referred to as nomadic tribes of Turkmen origin who had emigrated from the steppes of Central Asia to Anatolia, and from there, in several waves, settled the eastern part of the Balkans. Their name derives from the Turkish verb yürü-, which means "to walk".
According to an essay by Elizabeta Koneska, ethnologist at Museum of Macedonia, Skopje, they were first noted in the Balkan region by the end of the 14th century. Their gradual immigration went on during the 15th century, it intensified by the first half of the 16th century and concluded by the end of the 16th century. "The opinion prevailing among most researchers suggests that the migration of these nomadic-farming tribes mostly had to do with the conquering ambitions of the Ottoman Empire."