Gregory Halpern

New Photographs, 2008-2009

David Gilbert, Scott Eiden, Greg Halpern, and Troy Williams in Daniel Cooney's 3rd online Auction for Emerging Photographers

Troy Williams' Website

NOTE: This auction ends in about one hour -- BID HERE.  

These four very talented artists are among a number of other talented individuals in Daniel Cooney's third online auction featuring emerging talent.

When I first looked at this round of photographs about a week ago, I immediately took notice of these four images. In my opinion they are some of the more impressive and interesting works in this auction, yet none of them have any bids as of this posting. It should be known that I may be a bit biased, as I am also a fan of each of these artists' larger bodies of work.

Unlike almost every other online entity out there selling work, Daniel Cooney takes 30% of the sale to the Artists 70%, compared to the normal 50/50. I praise him for this. He also encourages those interested to view the works in person at his gallery in Chelsea, if in NY of course.

This auction ends in about one hour -- BID HERE.  These auctions are very affordable with bids starting at $200. 

I believe good art, and more importantly the support and belief in art as something that can inspire and create change, is an important and worthy contribution to ones community and beyond.

Support good art. Especially in hard times.


Scott Eiden's Website

David Gilbert's Website

Greg Halpern's Website

JSTN's Source

Check out JSTN, the creator of Muxtape, and his fantastic new project, Ambient Recordings, which simply records ambient sounds around New York. 

After a closer look, I found how far JSTN's brilliance goes. Check out these screen shots of the Source Code (definition) from his multiple websites.

From http://jstn.cc/

http://ambientrecordings.com/

http://chromogenic.net/



http://muxtape.com/



http://ihardlyknowher.com/chromogenic

Lay Flat

© Nicholas Haggar

I got my copy of Lay Flat in the mail today.  It's fantastic!  I highly recommend picking up a copy before they are all gone.  Buy online here.  Or better yet, hang out at Melanie Flood's Wednesday night and grab a copy there.

Emerging Photographers Online Auction @ Daniel Cooney Fine Art

Bradley Peters, Untitled (Boy with Red Hair), 2007
Bradley Peters' Website

Daniel Cooney's second online auction for Emerging Photographers is now live at iGavel.com. Stop by the gallery to view all the prints in person; I was there a few days ago, and they don't disappoint. Below is a selection of images available.

All works start at $200. What a great start to the New Year if you can grab some of these for under $1000! Sign up with Igavel.com to bid.


Whitney Hubbs, Untitled from Between Erosion and Rupture, 2008
Whitney Hubbs' website


Walter Lockwood, Untitled from Sukiyaki Western, 2008
Walter lockwood's website


Timothy Briner, Nathan, Boonville, NC, 2007


Toni Pepe, Untitled from Angle of Repose, 2007
Toni Pepe's website


Shane Lavalette, Swimmer, Aspen, Colorado, 2007
Shane Lavalette's website


Sam Falls, Painted Horse, 2008
Sam Falls' website


Noel Rodo Vankeulen, Hood, 2008
Noel Rodo Vankeulen's Website


Nina Buesing, Morning Fog Lifting in Bali, 2007
Nina Buesing's website


Nadine Rovner, Sara and Justin, Capture, 2007
Nadine Rovner's website


Megan Cump, The Thing, 2006
Megan Cump's website


Matt Eich, Untitled, From Carry Me Ohio, 2008
Matt Eich's website


Jon Feinstein, Nick, 2007
Jon Feinstein's website


Mark William Fernandes, The Divide, 2008
Mark William Fernandes' website


Lucas Foglia, Alex's Magnolia Leaf Rain Hat, North Carolina, 2007
Lucas Foglia's website


Juliana Beasley, Joshua and His Brother, 2008
Juliana Beasley's website


John Mann, Untitled (Libya), 2007
John Mann's website


Jeffrey Rich, Foam From Upriver Pollution, Pigeon River, TN, 2007
Jeffrey Rich's website


Clayton Cotterell, Shotgunning, 2007
Clayton Cotterell's website


Carolyn Monastra, The Gate, 2001
Carolyn Monastra's website

Tonight: Hannah Whitaker, As We Came Together We Will Go Together

© Hannah Whitaker

I'm psyched for this:

The show takes its title from the fable of the Biddenden Maids, a set of conjoined twins from the pre-medical 1100s, setting the tone for the duality threaded throughout the exhibition. In the myth, when one twin died and it was proposed that they be separated so that the other might live, the surviving sister replied, "As we came together we will go together," and died shortly after. In these photographs, Whitaker uses patterns and repetition, both naturally occurring and rendered by hand, to investigate the interdependence of opposing halves. The case of the twins exposes the paradoxical rift between scientific understanding and lived experience explored throughout the show--its emotional implications are complex while the math is simple. Her dark, often uncomfortable images, which include mangled trees, snakes, and sword and fire swallowers, challenge conventional sequential logic to explore her interest in the misleading simplicity of visual clarity, and how these serve as metaphors for human anxiety.

On View: Saturday, December 18 – January 25, 2009
Artist Reception: Thursday, December 18 from 7–10PM

The Wild Project
195 E. 3rd Street
(212) 228–1195

David Wright Print Sale

David Wright is one-half of the duo that created Pause, to Begin. He is also a very fine photographer who is need of some cash for a very fine cause. In January 2009 David will leave Maine for Alebtong, Uganda, where he will spend two months volunteering and photographing for A River Blue, a non-profit arts empowerment project for the children of formerly internally displaced persons in Northern Uganda. David has made a number of prints available for purchase to help support his journey. All works are $100.


Home, Cushing, Maine, 2007, © David Wright
Limited Edition of 20, Signed & Numbered, Pigmented Ink Print
6.8″x8.5" Image Size, 8″x11.5″Paper Size

To view all the images and to purchase prints, visit David's blog: http://davidwrightphoto.com/blog/?p=42

Pete Halupka Print Sale

I've recently become a fan of Pete Halupka's work (and his blog). Pete is selling prints to help fund his move to Chicago. Ten images are for sale in 16x16" and 16x20" sizes at $120 each (includes shipping), but only one of each image is for sale, so get on it.


"Bubba" © Pete Halupka

From more info on how to purchase, email peter. Info at http://peterhalupka.blogspot.com

Sol LeWitt: A Wall Drawing Retrospective, MASS MoCA

I am up in the Birkshires after participating on a panel at the Hallmark Institute of Photography yesterday, and I am extremely excited to spend the rest of the day at MASS MoCA. This show opened last week, and is up for the next 25 years! You have no excuse.

Camera Club of New York Silent Auction: Monday 6:30-8:30 @ Calumet Photographic, 22 West 22nd St.

I am pleased to say I donated a print for tomorrow nights silent auction at Calumet Photo to benefit The Camera Club of New York, a 501(c)(3) arts organization. Come get your non-profit art on!

The Camera Club of New York (CCNY) will host its 3rd Annual Silent Photography Benefit Auction on November 10th from 6:30 - 8:30 pm, at Calumet Photographic:

Calumet Photographic
22 W. 22nd St. (bewteen Fifth and Sixth Ave.)
New York
6:30-8:30pm
$10 admission. All proceeds go to The Camera Club of New York.


Amy Willams
Watch Out! 2005
Chromogenic Print
16 x 20 inches, Edition:2/2
Value: $400 | Min Bid: $175
Courtesy of the artist


Saul Robbins
Untitled, 2007
C-print
20 x 20 inches, Edition: 2/15
Value: $1200 | Min. Bid: $400
Courtesy of the Artist


Eric Weeks
Big star, 2008
C-print
20 x 24 inches, Edition: no info
Value: $1200| Min. Bid: $400
Courtesy of Pablo's Birthday


Bill Armstrong
#464, 2007
Chromogenic Print
11 x 14 inches, Edition: #3/10
Value: $1000 | Min. Bid: $400
Courtesy of Clamp Art


Carissa Pelleteri
Mary Jane, 2007
C-print
20 x 24 inches, Edition: 1/5
Value: $1200 | Min. Bid: $400
Courtesy of the Artist


Susan Paulsen
Katonah, 1999, (printed 2007)
C Print
5 1/2 x 5 1/2 inches, Edition: n/a
Value: $2500 | Min. Bid: $600
Courtesy of Anonymous Donor


Carolyn Monastra
Walden, 2001
C-print
16 x 20 inches, Edition: 2/5
Value: $1000 | Min. Bid: $300
Courtesy of the Artist


Azikiwe Mohammed
Car Shield, 2008
C Print
16 x 20 inches, Edition: #1/3
Value: $800 | Min. Bid: $150
Courtesy of the Artist


Dana Miller
Untitled, 2008
C-print
20 x 24 inches, Edition: 1/8
Value: $1200 | Min. Bid: $300
Courtesy of the Artist


Sebastian Lemm
Schattenseite #11 , 2007
Chromogenic Print
11 x 14 inches, Edition: AP
Value: $900 | Min. Bid: $350
Courtesy of the Artist


Saul Leiter
Kathy, Early Fifties
Gelatin Silver Print
5 x 6 1/2 inches, Edition: Later Print printed by the Photographer, signed three times on verso
Value: $5000 | Min. Bid: $2750
Courtesy of the Artist


Charles Johnstone
Red Bus, 2006
C-print
7.5 x 7.5 inches, Edition: 2/7
Value: $1050 | Min. Bid: $300
Courtesy of the Artist and Meredith Ward Fine Art


Timothy Briner
Untitled, Boonville, Indiana , 2008
Carbon Pigment Print
8 x 10 inches, Edition: AP#1 (10 + 2AP)
Value: $400 | Min. Bid: $100
Courtesy of the Artist


Thomas Holton
Untitled from the series "The Lams of Ludlow Street", 2005
C-print
11 x 14 inches, Edition: 1/1
Value: $750 | Min. Bid: $250
Courtesy of the Artist


Allen Frame
Santiago, Mexico City, 2001
Silver gelatin print
16 x 20 inches, Edition: AP
Value: $2000 | Min. Bid: $400
Courtesy of the Artist and Gitterman Gallery


Larry Fink
Stiff Arm and Silk, McKuin Wedding, 2008
Digital archival ink jet print
20 x 24 inches, Edition: 1/25
Value: $5000 | Min. Bid: $2500
Courtesy of the Artist


Hugo Fernandes
Tom, New York, 2006
C-print
16 x 20 inches, Edition: 1/15
Value: $1600 | Min. Bid: $450
Courtesy of the Artist


Amy Elkins
Kevin, Woodstock, NY, 2007
C Print
11 x 14 inches, Edition: 5
Value: $750 | Min. Bid: $300
Courtesy of Yancen Richardson Gallery


Max Dworkin
Untitled, 2008
C Print
11 x 14 inches, Edition: 1/10
Value: $ | Min. Bid: $
Courtesy of the Artist


Brett Bell
Boy on the Corner, 2005
Chromogenic Print
20 x 24 inches, Edition: AP
Value: $600 | Min. Bid: $200
Courtesy of the Artist


Jen Davis
4 A.M. , 2003
C-print
20 x 24 inches, Edition: AP#1
Value: $400 | Min. Bid: $200
Courtesy of the Artist and Lee Marks Fine Art


Harry Amdur
Nude Torso, n/a
Gelatin Silver Print
10 x 10 3/4 inches, Edition: n/a
Value: $600 | Min. Bid: $300
Courtesy of the Artist

See the all the works here: http://www.cameraclubny.org/auction2008/index.html

Multimedia Interviews @ Pause, to Begin

Point Reyes, CA, May 15, 2008

The Pause, to Begin multimedia interviews are getting started (a new one everyday or so); Keep an eye on the PTB Blog for updates, or subscribe to the PTB iTunes Podcast.

I just finished watching Hin Chua's multimedia interview. Hearing Hin speak simply makes me want to grab my camera and run outside. I've watched all the interviews that are currently available and they are all great.

View mine here, then click "multimedia."

Wassenaar Issue 01

© Alexander Binder

As I have mentioned in the past, Noel Rodo-Vankeulen (editor of Wassenaar) is one of the most exciting people I have encountered in the world of art photography. I may be biased, as he has given me highly insightful and intelligent reviews of my Boonville work. But I believe he is definitely one to watch.

Wassenaar Issue 01 is finally out. And damn!

Short but sweet: An Interview with Amani Olu, Director of the soon-to-be defunct Bond St. Gallery

Opening night at Bond St. Gallery, Young Curators, New Ideas
Taken from Amani Olu's facebook page.

Bond Street Gallery was recently taken over and transformed into a contemporary photography gallery by Amani Olu, the founder and director of the Humble Arts Foundation. But after two and a half shows, the gallery is closing its doors early (and is even cutting the current show short by two weeks).

The opening show (August 13, 2008) was a fantastic study of the current trends and new ideas in art photography: Young Curators, New ideas was curated by Alana Celii & Grant Willing, Michael Bühler-Rose, Jon Feinstein , Laurel Ptak , Amy Stein, and Lumi Tan.

The second (September 10, 2008) was a show of reprinted Gelatin prints and new Carbon Pigment prints from Walker Evans' estate.

The third show (October 15, 2008), which is being cut short by two weeks, was Amani Olu's Curatorial debut. The exhibition "explores the shift in American culture following the Second World War, and how that shift has influenced American values today." And features the work of Timothy Briner, Jon Feinstein, Matthew Gamber, Justin James Reed, Angie Smith, Brian Ulrich and Michael Vahrenwald.

This morning I used the highly sophisticated Gmail-chat to talk with Amani about Bond St. closing, Humble Arts, and whats next.

me/Tim: Dude, you got a minute or two?

Sent at 10:17 AM on Thursday
Amani: What's up?

Sent at 10:18 AM on Thursday
me: I wanted to ask you a few questions about the gallery for the blog:

Amani: sure send them over.
me: Bond St.: So what the fuck?

Sent at 10:25 AM on Thursday
Amani: i mean, the pdn [interview] pretty much told the story; the owners got impatient and had unrealistic expectations; they didn't really understand how the gallery market works in new york; they expected to do a lot of sales in a really short period of time, and they didn't have a collector base when i started; so i was trying to build that.
me: Really? 3 shows? That's it, they pull out after 3 shows and 3 great turnouts? And they don't even let the last one run its course? Is there not something else going on?

Sent at 10:33 AM on Thursday
me: BRB, getting some coffee...

Sent at 10:34 AM on Thursday
me: OK. So really, is there something you are not telling us? Or they are not telling you?
Amani: i think them closing the gallery two weeks before the show ends proves my point that their is a lack of respect and concern for how to work in this community. i suppose i'll never know the real reason why they are cutting the show in half, my guess is that they just want to get this over with and move on. the bottom line is that the gallery is closing because they don't want to be in this business any longer.

me: WOW.. I just got an email from Adorama: 16x20 prints for $4.95. WTF!

Sent at 10:38 AM on Thursday
me: Ok... so this must be frustrating... you had a nice space and was the start of something big, something that directly comes from your work with Humble; what now? What's next for Amani Olu?

Amani: not sure.

Sent at 10:40 AM on Thursday

me: We don't have to worry about Humble, I'm sure. But you got a taste of directing a gallery, having control over the design, the shows, the artists, and you curated your first group show. You want to continue with that? it seems like a perfect fit to me.

Amani: i would like to continue as a director/curator.

Sent at 10:43 AM on Thursday

me: Has this inspired you to try and take Humble out of the virtual world? Or you going to look for a separate space, like Bond st.?

Sent at 10:45 AM on Thursday
Amani: The goal for Humble has always been for it to be out of the virtual world (while still existing there). 2009 is all about finding the right funding to open a space for Humble; that was on the agenda in 2007; so, we're going to keep moving forward with that; nothing at Humble changes; we're just going to keep it going and developing it for emerging art photographers.

Sent at 10:48 AM on Thursday
me: That's great to hear! Thanks for you time, Amani. One last question: how many pairs of glasses do you own?

Amani: five
Amani: but only two are in rotation.

Sent at 10:50 AM on Thursday

me: If you don't mind... I want to ask you one more: As an artist who is looking for representation myself, I'm curious how hard was it to have to announce to the five photographers [Bond St. represents] that the doors were closing, and that they were to be cut?

Sent at 11:44 AM on Thursday
Amani: It wasn't easy; but I had to do it; it wasn't my decision, i was just the messenger; i'd like to not have to do something like that in the future; but it's a part of the business; galleries close; it happens.

Cara Phillips

Cara Phillips, 2008

Cara Phillips is an extremely talented artist. Not only is her work inspiring, smart, and thought provoking, it's absolutely beautiful.

Cara is setting up shop outdoors and is looking for subjects to photograph. Cara is using a special Ultraviolet filter to capture possible future blemishes in the skin; an extension of her study on beauty and cosmetics in our current society. I stopped by Union Square today to lend my support. If you are in the city, stop by and get your portrait made by Cara. She will be in Union Sq. on Friday (Oct. 17) and in the Meatpacking district next Fri, Sat.

An outdoor photo studio is set up in Union Square and the Meatpacking District. A special UV filter is used to take portraits of people on the street, so as to offer members of the public a chance to see their possible future and reconsider the fear of flaws that pervades our society.

“It’s about people directly confronting their flaws,” says former makeup artist and photog Cara Phillips. “I spent years helping women buy products to hide themselves, and I wanted to expose the flaws that can’t be seen with the human eye.”

Time/Location: Thursday, Friday, October 16, 17. Union Square; Friday, Saturday, October 24, 25. 14th Street & Ninth Avenue. (10am-1 pm & 3-5pm).

Polaroid, ©Cara Phillips

Upcoming: Revisiting America @ Bond St. Gallery, Wed, October 15

208 High Street, Boonville, Missouri, 2007

I'm pleased to say I have five images from Boonville in an upcoming group show at BOND STREET GALLERY in Brooklyn, NY. I'm grateful to be in the company of many talented friends and artists. If you are in NY, please don't miss it.

EXHIBITING PHOTOGRAPHERS:
Timothy Briner, Jon Feinstein, Matthew Gamber, Justin James Reed, Angie Smith, Brian Ulrich and Michael Vahrenwald

BOND STREET GALLERY is pleased to present Revisiting America, a group show curated by amani olu. This exhibition explores the shift in American culture following the Second World War, and how that shift has influenced American values today.

And if you're up for it, join us at BOND STREET GALLERY on Wednesday, October 15 for the opening reception. 6-9pm

Revisiting America is on view from Wednesday, October 15 through Saturday, November 15, 2008

Read the press release and view images here: bondstreetgallery.com/upcoming.html.

The Hold Steady, Stay Positive

I received the new Hold Steady album a few days ago. These guys were stuck in my CD player and my head for 75% of my time on the road last year. I haven't heard a bad tune from them yet. The new album had me jumping up and down, laughing like a little girl and speaking in tongue while on the subway two days ago. It was ridiculous.

Photographing at Night w/ Tema Stauffer, Oct. 3 - Dec. 12 @ ICP

© Tema Stauffer, 2008

Starting next week I will have the honor of working as Tema Stauffer's TA during her Fall class at ICP: Photographing at Night. I'm really looking forward to the experience of being a TA and to be doing so for such a talented photographer. Please join us! Info below:

The night brings mystery and drama to a city street, as well as a set of challenges to the photographer. This course will encourage students to experiment with different methods of photographing at night. Students will review work by photographers with widely ranging styles, such as Weegee, William Eggleston, Nan Goldin, and Todd Hido. Technical demonstrations will cover how to use a flash, high-speed and long exposures to create mood. Discussions will also address strategies for safe and effective shoots. Students will develop a personal project and critique oneanother's work. In addition, this course will help students learn or expand their printing skills in a color darkroom. All camera formats are welcome. PREREQUISITE: Photo I in Black-and-White, previous darkroom experience, or portfolio review.

10-Week Course
10/3/08 - 12/12/08
Fri (6:30 PM to 9:30 PM)

$620.00 | ICP Members $595.00

Go to the ICP website to register.

MOMA Artist Pass

$25 annual fee (with proof of recent exhibition) equals access to the museum for free all day, everyday, plus free films.

Coffee shop, library, priceless works of art, and Wifi: I just found my new office. Twenty-five bucks for the year!!!

Thanks to Ofer for the tip! Go get one today, and then take Ofer's recommendation and "Head over to MoMA this week (starting today) to catch a screening of Hungarian cinematic maestro Béla Tarr’s The Man From London, made in 2007."

Let Us Know Praise Famous Men, Walker Evans, Carbon Pigment vs. Silver Gelatin.

Untitled Negro Quarter, Mississippi, 1936, Walker Evans
9 x 12 in.
Carbon Pigment Print

Let Us Know Praise Famous Men, Photos by Walker Evans & Text by James Agee, was by my side for much of my cross-country trip. There was a time I reached out to friends and family, and to a few photographers who had undergone similar stints on the road, for advice during my stay in Boonville, N. Carolina. A friend who would later give me some of the best advice in the last few weeks of the journey, suggested that I read Famous Men just before I left Missouri for NC.

I believe it was Evans who suggests (in the forward) reading the first few chapters at night, and by candle light, if possible. During the time I read the first half of the book I was camping in a semi-secluded part of the town park, in NC. I didn't know many people at this point, so I spent much of my nights reading by headlamp. In "Part One, A Country Letter," around page 51, Agee goes on to write one of the most moving paragraphs (and 20 pages) I have ever read. It was a pleasure to have read this while being outside and alone, and with only a faint and flickering headlamp by my side.

"The light in this room is of a lamp. Its flame in the glass is of the dry, silent and famished delicateness of the latest lateness of the night, and of such ultimate, such holiness of silence and peace that all on earth and within extremest remembrance seems suspended upon it in perfection as upon reflective water: and I feel that if I can by utter quietness succeed in not disturbing this silence, in not so much as touching this plain of water, I can tell you anything within realm of God, whatsoever it may be, that I wish to tell you, and that what so ever it may be, you will not be able to help but understand it."

I've been to Bond Street Gallery in Brooklyn twice since the Evans show opened. The images are a mix between digital ink-jet (or Carbon Pigment Print) and traditional Silver Prints. It was exciting to see the two mediums in the same space; being someone who prefers to stay as far away from both the darkroom and digital printer, I am still unsure of the final process that I will use for the Boonville work: I hate the dark; and the digital Pigment print is looking amazing and even better then silver in some cases, and it is much easier, accurate and cost effective to make editions on the go, rather then all at once. Evans himself hated the dark, and was not afraid of new technologies. Quoting a NY Times article about Evans from August, 2006:

In other words, the image produced by the camera, whether it’s a negative or a digital file, is only the matrix for the work of art. It is not the work itself... Digital technology has not introduced manipulation into this universe; it has only multiplied the opportunities for mischief.

I dawdle over this familiar ground because the digitally produced prints of classic Walker Evans photographs [...] are so seductive and luxurious — velvety, full of rich detail, poster-size in a few cases and generally cinematic — that they raise some basic issues about the nature of photography.

For starters they suggest a simple question, whether luxury and richness are apt qualities for pictures of Depression-era tenant farmers in the American South. These are, I must say, almost uncomfortably beautiful. In “Let Us Now Praise Famous Men,” where Evans first published many of these photographs in 1941, James Agee, his collaborator, wrote that the book might best have been issued on newsprint to suit the simple and honest character of its subjects. Photography compromises its own value, Agee thought, when it becomes pretentious.

For his part Evans notoriously disdained darkrooms and only haphazardly supervised the making of his own prints. But he adopted the new Polaroid SX-70 camera when it came along in 1973, indicating that he wasn’t averse to new technologies; and with his negatives, like most photographers, he occasionally burned in or dodged out passages to make the pictures look more the way he wanted them to, which they couldn’t otherwise. To a negative of the famous portrait of Allie Mae Burroughs, the sharp-faced Alabama tenant farmer’s wife, he attached instructions for exposing furrows in her brow. Adjusting the exposure was the technique he had at hand, a crude one compared to digital technology.

Last Roll

A few days ago, Drew -- my good friend and also film developer for the duration of the Boonville project -- dropped off the remaining film I shot on the road. The last roll was shot on June 16, 2008 and developed on July 16, 2008.

I now feel that I can fully focus on the editing and begin to move forward. I will be going into the dark by the end of this week. No more procrastinating.

Dalton Rooney

From Everything I Thought I Knew, ©Dalton Rooney

In a surprise move I found Dalton Rooney via Twitter. A fantastic photographer. His use of B&W is powerful and elegant. Mr. Rooney has recently been exploring the Palladium print via the digital Negative.

"I’ve been hard at work developing my process for palladium printing with digital negatives. It has been hit-or-miss so far: these test charts represent only about half of the total work I’ve done in the darkroom. Some of the charts are getting close, but I’m still not really happy with any of them." -Read more about the process here.

New Ideas

Skull, 2008 © Noel Rodo-Vankeulen

I'm sure the blogs will be flooded with info about the upcoming Young Curators, New Ideas show at the refreshed Bond Street Gallery in Brooklyn; opening this Wed., August 13th. I've got some friends in the mix. So I can't pass up a plug. It may seem a bit cliquey, but don't hate, the line-up is impressive, and personally, I'm psyched to see it.

I have decided to shut down for the month of August. Editing is on hold for now. But I will be in the dark and hard at work for at least three days a week starting September 1st.

August will mostly be filled with grant and proposal crap, researching post-production/printing options, and shooting pieces for a new project. Plus a week in the Catskills with Laura. See you in September, or not, it's up to you.

On Editing

Robert Adams (b. 1937), Untitled from What We Bought: The New World (Scenes from the Denver Metropolitan Area)
1970-1974, gelatin silver print, Yale University Art Gallery

"... After that came the editing of 5,000 pictures disposed on these sheets, a process that, remarkably, [Robert] Adams has estimated required at least two or three times as many hours as he had spent in the field making the photos. Using L-shaped pieces of file folders to isolate one, and then the next, small picture, he worked slowly, only gradually distilling the body of this work to a kind of still point, where the photographs that survived the process remained strong and clear every time he returned to consider them." -Tod Papageorge, What We Bought, (an essay on Robert Adams & his work What We Bought: The New World)

I estimated, poorly, that it would take me roughly three months to go through and edit my recent project. It has already been about 40 days, and I have barely scratched the surface. To save money, I had planned on scanning the work and outputting digital test prints. But it seems that whenever I touch a scanner or printer it turns to the consistency of dog shit, and then I get mad, and toss it as far across the room as I can, which is not far, which pisses me off even more.

I am planning to hit the darkroom within the next week or so. I'm looking forward to getting dirty and to really explore all the work. I almost lost track of things and began to rush this process.

More on Adams' What We Bought and the full essay by Papageoroge over at Eric Ethridge's blog.

Jeff Wall, Passerby, 1996

© Jeff Wall, Passerby, 1996

It wasn't that long ago that I remember Jeff Wall's "Passerby" striking a cord in me that would change how I look at photographs forever. Like a good album, a great photo can make you groan in pain from the site of it, only to open up your mind in awe days, months, or in my case, years later.

Now more then ever I am interested in the way we look at images, and why.

A selection of artists, photographers, bloggers, etc. that I have met over the last 18 months...

The internet definitely has the potential to destroy my social life, but in this case it has spawned many exciting relationships.

Networking with your peers is one of the most important things an emerging artist can do. I've met many people over the last few years thanks to the internet. I've had amazing conversations, I've been inspired, gained knowledge, but best of all, I've created some satisfying and long-lasting relationships with many of the people I've encountered.

While traveling this last year I was fortunate enough to meet (or revisit) fourteen of the thirty people below. I stayed (or camped) with eleven of them: a few for one night, a few for a week or so, and one couple for about twenty or so days, off and on. The below images are a mixture of portraits (or snapshots) taken by me, or works by the artists themselves.

I took a class four years back with an artist named Sharon Louden. The thing I remember most was that she said to create and insure lasting relationships with other artists. The discourse, inspiration and connections can be priceless.


Thomas Allen & I, Coloma, MI, 2007


Garth Risk Hallberg, Brklyn, 2007


Jason Lazarus, -- bright (one of 3 qualities missing from the contemporary african american presidential candidate, except Barack Obama, according to Joseph Biden, February 2007)


Amy Elkins, Brklyn, 2008


Justin James Read, Twelfth Street, 2006


Shawn Gust, Saphire


Jon Feinstein, New York, 2007


Geoff Ellis & Sarah Lacy, San Francisco, 2008


Eric William Carroll, from Sunburn


Amy Stein, from Stranded


Kay Westhues


Kevin & Tiffany Sisemore, Kansas City, 2008


Amani Olu, Brklyn, 2007


Stephen Schuster


Will Steacy, Marfa, TX, 2008


Sarah Sudhoff, Fallopian tube, 2005


Kevin Faulkner, Brklyn, '08, (photo: Amy Elkins)


Shawn Records, Portland, 2008


Brian Ulrich, from Backrooms


Alison Malone, from Daughters of Job


Cara Phillips, Untitled Beauty Still


Peter Haakon Thompson, Minneapolis, 2008


Tema Stauffer, Couples embrace, Chicago, 2000


Andy Adams (Flak Photo), Madison, WI, 2008


Liz Kuball, S.

David Wright & Ethan Jones (pause, to begin)
Point Reyes Nation Seashore (or close to it), CA, 2008

Greg Wasserstrom, from Doldrums

I do remember why I care for you!

© Walker Evans

Laura and I were driving through East New York the other night. As we were stopped at a light, a shiny black Escalade pulled up full of passengers. I looked over at the guy in the back seat, and a stiff-faced, I'm-a-bad-ass starring contest ensued; Neither of us twitched. All the while, this gentleman was smoking what I will call a "rolled cigarette." After what felt like three or four minutes (more like 15 seconds), I gave a smile and motioned for him to pass me some of the love. His face immediately broke into a smile and he began rolling with laughter as the car pulled away. We never caught up with them.

This morning, while on the "4" train to the Upper East Side during rush hour, Laura and I were crammed into the train like sardines. It had been a full year since I have felt that sensation. In that moment I mentioned to Laura about how so many of the people I met on my trip would find it beyond crazy to willingly rub up against sweaty strangers for 10-30 minutes, while being stuck inside a tin can in a tunnel ten feet underground. I then mentioned how I loved the subway during rush hour for those exact reasons, and that actually, "I get off on it!!"(I was joking of course). At the next stop, when most of the masses got off the train, Laura said that she saw the woman that had been forced to rub up against my backside for 10 minutes give a nice little smile in response to my bad humor.

Those moments make me happy. And they make this huge city and world seem just a little bit smaller. I love it. And I love being back. It took a few unlikely encounters to make me remember how much I love this city (it can be easy to forget). And I sit here wondering, did that moment mean something to them in some small way? Either way, I got a smile out of them. And that feels pretty good.

Highlighted

Robert Adams, 'Colorado Springs, Colorado', 1979, © Robert Adams

During my editing battles of Do I Like This, Do I Hate This, Will They Like This or Understand This... I found this:

'All people in this world are made to give evidence or to signify something. [...]' In that spirit we ought as critics to remember that no subject matter is unimportant and no human response to it is unworthy of our attention.
The word of encouragement I would like to give to photographers is in the form of a statement by Matisse about painting, a statement we can apply by analogy to photography: 'A painter has no real enemy but his own bad paintings.' It is possible that, were I to look at your work, I would misunderstand or misjudge it, but my mistake would be of limited significance, assuming that your work is substantial and that you who made it see it clearly. A good picture powerfully vindicates itself in time; it is far stronger than a mistaken critic. -Taken from Civilizing Criticism, from Beauty in Photography, Robert Adams, 1981

I've been looking over my journal, letters to Laura, and old emails to friends to recapture some of my feelings and thoughts while I was on the road. The edit is going well. I've finally crossed the first of many obstacles.

I think the Photography.Book.Now competition is out of the question. Unfortunately I won't have time to do an accurate edit. I'm bummed. But it motivated me to really start moving on this process, and that is reward enough.

Right now, there are thousands of photographers pacing back and forth; cigarette, coffee, scotch, edit... repeat.

Next Monday is the deadline for the now infamous Photography.Book.Now competition. I'm guessing 3,345 photographers will enter. Even if it is half that, those judges are gonna be pretty tired. I'm curious how the judging process goes down? Over how many days? How many weeks? How many... Nevermind, I have too many other things to deal with, I don't want to know.

DEADLINES!

Aperture deadline: Friday, July 11 ($2,500 prize)
Photo.Book.Now: Monday, July 14 ($25,000 prize)
Eugene Smith: Tuesday, July 15 ($30,000)

Valérie Belin & CocoRosie

© Valérie Belin

Valérie Belin recently photographed the talented and fabulous Sierra & Bianca Casady -- the sisters behind the band CocoRosie -- for this Sunday's NY Times Magazine.

Valérie Belin is an amazing photographer and inspiration. Her powerful studies of mannequins, Michael Jackson impersonators, body builders and simple objects such as bags of potato chips, masks, and engines, never cease to amaze. They are simple, thoughtful, and stunning. Examples below.


All image © Valérie Belin.



Laura and I had the opportunity to see CocoRosie in 2005, and we (or I) LOVED them! I've fallen out of the music scene lately, but I hear their new album is insane. Check out a video from the album below.



Bianca is a talented visual artist herself, recently having a show at Deitch Projects. After the CocoRosie show that night in 2005, I stuck around to buy a shirt. I was lucky enough to have Bianca personalize the back of it for me. I told her I really wanted a shirt with the tour dates on it. So she told me to put it on. The next thing I know, she is drawing on my back. It has since faded, but she wrote, adding a few extra squiggles here and there, "CocoRosie, 1993 World Tour." It was nice while it lasted.

Editing, etc.

I've been home now for about two weeks. If you are just checking in, I've been traveling the country and working on a new project for the last eleven months. I have not looked at a single sheet of film from the project since being on the road. I'm very excited to do so, but right now I am a bit overwhelmed.

In regards to the struggles of undertaking and completing a project, Sarah Sudhoff hits it right on the nose:

"First you have to think of an idea. Second you have to figure when and where to produce this idea or image in my case. Third you have to find the resources to take action and quite possibly get time off from work or other responsibilities. Fourth the work must be successfully shot followed by precise editing. Fifth, if you're still counting, is printing the work or uploading it to a website. Sixth getting the courage to share the new work which by this time seems old to you and has already taken up so much or your time, exhausted your funds and so forth. It seems at times the road leads no where with no end in sight."

Words cannot express my feelings about this project. I worked my ass of for a solid year to make it happen, and then I left everything behind, shut everyone out of my life, and focused on only myself and my work for roughly 300 days. Sounds wonderful, and it was, sort of. But the fact is I lost a lot this last year. I also gained a lot. Only time will tell...

I am going to try and dive into editing as early as tomorrow. I have decided to submit to the Blurb Competition (deadline in two weeks): I've talked to a few other photographers, and carefully read the comments on my previous post, and I do agree that the opportunity has the potential to outweigh the fine-print.

As of late, I have been struggling with discussing the editing process and showing Boonville work on the blog. Recently I've been reading Robert Adams' Beauty in Photography.

"To begin with, we ought to decide whether any public discussion of a particular work is appropriate. There are legitimate reasons for being hesitant to speak. Silence is after all the context for the deepest appreciation of art; the only important evaluations are finally personal, interior ones."

The blog does allow an outlet for me that I am comfortable with, to a certain point. But I've never really been one to show work online, or talk about a specific piece (with a few exceptions). Less is more? I believe there are eight images floating around the net from the project. In my opinion, that is too many. But with some time, it is possible that more will surface. Stay tuned for editing details, and other news.