Archives for the month of: November, 2007

I still find myself being fascinated by how the mediums of painting and photography co-mingle. Portraiture is where things really get interesting. I am drawn to photographic portraits that capture an expression on a person’s face or that seem to represent something about the subject’s personality. I like the idea of portraying the unique sensibilities of human beings. Of course their are many other types of photo portraits, but I like those in which I feel some connection with the subject. Painting ,with the advent of photography, largely abandoned portraits which attempted to realistically capture a person on the canvas. Now there seems to be a return to the painted portrait, but they are largely influenced by the photograph. Which makes for some very compelling work. I found this painter’s work recently, Frank Bauer, and it caught my attention. I quite like the nuance of the moment and the expression he has captured. The male gaze is largely absent from these images, the artist is giving these women a voice in the paintings. The history western painting does not have such a good record in the representation of women. Bauer has women who are not fantasies nor are they repulsive. They are women with unique personalities which are evident despite the similarity of their surrounding. My first body of work, was portraits of women, where I also attempted to subvert the male gaze, by allowing the women to photograph themselves after I set up the camera. Or to attempt to create an image which would not be about what they looked like. It is nice to see an artist confronting this issue. I think it is an important and difficult challenge for art makers.






Have you ever had a photo idea milling around in your head for a while, or done some preliminary shooting but have not quite gotten it right yet, only to step in to a gallery or open a magazine and see your idea realized by somebody else. So goes the world of photography. Sometimes you get beat to the punch. I shot a lot of stuff at salons and spas when I began my project, but it was during my technical training wheels period, while I learned 4×5. I have been planning to re-visit some of the sites to re-shoot. But low and behold, I opened up my NYMag this week and Elinor Carucci had a picture that has been in my mind for 2 years. And it was good! Damn her!


While the pictures are un-mistakenly her style and are designed to capture a very different mood, it brings up an interesting question. How do you deal with originality in photography? Is it enough to shoot with your ‘eye’ and apply it to any subject matter, even if it has been covered by someone else, or do you need fresh subjects? Or do you need to be innovative in your form & content. The current NY Times review of New Photography 2007 at the MoMA brought up this question. The review mentions what is a fantastic show of work from the permanent collection, which you must past through on the way to New Photography. The reviewer was at first confused and thought the Stieglitz & Co was the exhibit, only to be disappointed upon seeing the derivative nature of the newer work.

A consistently strong point of the “New Photography” series, including this edition, has been the international array of artists. But so far it has been weak in showcasing new developments and contextualizing contemporary photography within the collection, which helps explain the jarring transition from Stieglitz & Company to the current crop. You hate to be the spoiler, the insatiable art viewer constantly demanding that rush of something new. But when a show is called “New Photography 2007,” you feel within your rights.

In many ways I very much agree with Martha Schwendener, a lot of photography out there is uninspiring. While the work featured in the retrospective show really captured the pioneering and creative spirit of photography, much of the new work out there seems like a retread, of a retread of someone else’s image. The interesting question is why is photography recycling itself so much right now or focusing on process-driven work. I have a hunch that it the evolution of photography from an emerging art form into an institutionalized art is at fault. When most young photographers are going to the same 2 or 3 schools, get MFA’s and then work as assistants to established artists, is it a surprise that their work suffers from the weight of the photo cannon. I think it is unfair in a way to expect them to transform the medium, but perhaps photography will only start to grow when it is free from the art market and education system that is currently sustaining it. I often feel hindered before shooting, that I must deliver a fully realized project at bat, but maybe it is the willingness to fail that makes art move forward. We are not in a culture that embraces failure, but rather feeds on success.

In the midst of this confusion on original vs. referenced art, Tanyth’s Berkley’s employing the Arbus method of capturing societies outsider’s I think can be seen as an update on who is considered a “freak” in our current culture. While in Arbus’s time, she sought out people who were outside society by choice or by dramatic mental or physical difference, Berkley photographs people who our outside the current standard of beauty. Why I am personally uncomfortable sometimes with how her photographs make people even more ‘freak-like” I think she is trying to show the viewer their own prejudices about physical appearance. Much in the same way Peter Hujar made people confront their feelings about gay culture and lifestyle in the 70’s and early 80’s. And in that context, her referencing of Arbus makes sense.

Tanyth Berkley


Peter Hujar


Diane Arbus


I stopped by Gallery 303 over the holiday weekend along with a few other galleries to catch up on the Chelsea scene. I was not disappointed with Lynne Cohen’s show. Her work is complicated, yet her images are formally quite simple. And it was nice to see small, black and white images on the wall. There were a few large prints, but I was not quite sure why the particular images were blown up. It is an interesting question for an artist, what is the right size for an image. It is something I am currently grappling with. Some images do need to be big, while other are better small. Some work is great at any size. I guess it is more about how you want the viewer to experience the image. Thomas Demand’s show is very much about perception, but in another way. The images are large, in order for the viewer to see the detail of the paper recreations of the subjects. If they were printed smaller, it would be more difficult to see that there is something not quite right. The resulting images are unsettling. They do not quite look like photographs, nor do they look like anything else. The subject of the exhibit is the political obfuscation that was used as justification for the Iraq war. This is really a concept that cannot easily be photographed, so Demand re-created ‘scene of the crime.’

Yellowcake consists of a series of 9 photographs about the location where this story, and its ‘smoking gun’ originated. Adding further intrigue to this saga, is the consideration that there has never been any photographic documentation that could illustrate these events and news as they came to light — no one had gained access to Niger’s Embassy in Rome. For Yellowcake, Demand –who has traditionally based his practice on existent imagery – had to access the source site on his own. Demand entered the apartment-cum-embassy and conversed with the embassy staff, and through these visits and interactions built his own memory of the place. Based on these recollections, Demand reconstructed the embassy site in his studio in order to create the images that make up Yellowcake.

The photographs are rather beautiful to look at, and I think it is an important subject. We expect the documentary photograph to portray the ‘truth’ in the same way we expect our President to tell the truth, but by creating these fiction/truths Demand is questioning the both of these cultural assumptions. Perhaps we are so jaded, that we have moved past the idea of actual truth, the only truth can be found where there is no pretense of it. These are very interesting ideas, but Demand creates such a distance between the event and his interpretation of it, that my reaction was 100% intellectual. In the current American political situation, it seems like work that provokes people’s hearts and minds is needed. We are rarely driven to take action from our intellect, which is unfortunate but true. But I do respect him and the intelligence of his work. And I think creating imaginary ‘documents’ is probably a closer representation of the ‘reality’ inside the current administration then any straight photograph could capture.





William Eggelston to me, captures the magic, i.e. the suburban travails of the Holiday season better than anyone. While his pictures are not expressly about being home for Thanksgiving or Christmas, they somehow represent the experience. So I would like to say thanks to Mr. Eggelston and let’s all try find some irony & humor in our upcoming family scenarios, whether you will fight over the last piece of pumpkin pie or why Daddy loves your sister more than you, or how you have never forgiven your parents for not giving you a Ken doll on your 8th birthday. My divorced parents have spent all of their Holiday’s together so I am very familiar with ‘holiday horror shows.’ What makes his work so great is that he makes the insanity of suburban life seem normal. So we all revert to our 8 year old selves once or twice a year, at least now we can have some alcohol make it all go by in a haze. In Eggelston’s case perhaps this has not worked out so well. But despite the critique in his photos, their is an underlying love. And I think we can all relate to that.

Happy Thanksgiving!











I just wanted to say thank you to everyone for their comments and encouraging words. I am very committed to my work, but I guess still trying to develop a confident voice. By that I mean, to discover the best method to communicate my ideas. It is easy to get caught up in the conceptual, but it is more important to be willing to fall flat on your face and take risks. I think it is time for me to do more of that. Whether people like 100% of what I do is not important. How the work helps me grow in my ability to express myself is much more valuable.

And a special thanks to Christian Harkness for passing on this quote from a painter:

He was asked for his definition of a successful artist and he said something like this, ‘any artist who is doing what he wants to do is a successful artist.’

I can’t think of anything I’d rather be doing.

Also, a word about an artist who absolutely has everything together. Lynne Cohen has a retrospective up at Hasted Hunt Gallery. I remember vividly after I started my beauty project, when my photo teacher Joel Sternfeld, first showed me her work. I did not take a picture for a month afterward. She not only has an incredible visual sense, her work has political and conceptual depth. But there is subtly and beauty in all her images. I am so happy to see her getting some attention. I often find it strange that she does not have more of a presence in the photo cannon. If you are in NYC, I highly recommend you go. She is one of my photo inspirations.

529 West 20th Street, 3rd Floor
New York, New York 10011
11 AM – 6 PM Tuesday – Saturday




I had to take a break from blogging to clear my head a bit. I have been trying not to get disheartened with the whole trying to get my work out there process. All of the support I have gotten online has helped – so thank you to everyone who has sent a kind word my way. I think it is more difficult when your work is very personal. When I began my project, I started with spas, hair salons and places that represented ‘beauty seeking.’ But as it progressed, it became clear that the plastic surgery offices best represented the level of pain at the source of female self-hatred that I was interested in finding. This self-hatred can manifest in many forms, it can be mild to severe. It is reflected in the sheer number of women with eating disorders and who have accrued terrible debt to get the clothes, shoes, beauty products, that might help them feel less inadequate. There is instant online financing for plastic surgery, you just click on a button on The American Society of Plastic Surgeon’s website and you can borrow perfection. For me, the machines and chairs represent the enormous pain I have inflicted on myself and the endless pursuit to be “good enough.” Much of my life has revolved around these pursuits and they left their mark. By making these photographs, I have an outlet to fight the thoughts and beliefs that hinder me. And more importantly to find value in myself for more than what I look like. Models & actresses are held up to women as the cultural ideal of female beauty. They have to struggle to achieve the perfection expected of them. But I am sure they many of these beautiful women, would like to be appreciated for more than their looks. It does not surprise me that many former models have stepped behind the lens: Lee Miller, Tierney Gearon, Helena Christensen, & Ellen Von Unwerth.

So in the midst of my own dark thoughts, yesterday I had a conversation with another photographer about galleries and success and I realized that the ‘why’ of my work is what is most important. If I focus on the other stuff, I lose sight of why photography has changed my life. Taking pictures and exploring the places & things that scare me is where I find freedom. If one person gains a better understanding of what it’s like inside the mind of a women struggling with body issues, then it is worth it. This is why I am somewhat disappointed by the current trend towards ‘process’ driven art. Work that uses process to stand in for something else can be very powerful, but to me a lot of stuff seems empty and more about style. The same way much of the big color typology trend does. Or the work is so personal to the artist that it is inaccessible to the viewer. Perhaps my work is not formally groundbreaking, but I don’t believe that work that is psychological and a reflection of its time should ever be dismissed. There should be room for different types of expression. Yes, the large repetitive print model has been overused. But in a world where women are being given the same large circular breasts, and equally plumped lips, straight and narrow hips and thighs, is it a surprise that the artists have also employed this form. So, I am going to embark on making more work, and try not to feel so negative about the state of photography. Like anything else, what is one day scorned is someday praised.


All right I am not ashamed to admit it, I want to be ‘found’ – don’t we all? Why else we go through the horror of making promos, websites, calling strangers, etc, and risking rejection, humiliation and criticism. So I want my work to be discovered. That’s right – I am saying out loud. So thank you A Photo Editor for making me come out and ask. I see you have added a new device for people to upload links to their sites. I fear you be so inundated with links that you will have stopped looking by tomorrow. But I am posting some of my commissioned work on the blog, and I guess I will start putting of more of my own work. I just don’t want it to become the All About Me & Pictures blog, I kind of hate those. But I hope you take a look. And yes, feel free to tell your friends, you know the ones who also hire photogs.


Finding New Photographers

November 14th, 2007 There is nothing better in this business than finding and hiring new talent and getting back an amazing shoot. Nothing. Conversely there’s nothing worse than a failed shoot from someone you just hired for the first time. Ahhhhhh the highs and the lows. I probably hire 2-8 new peopleevery issue… whaaaaaaaaaa, 2-8 N.E.W.? That’s right people, a regular shooter gets 2-4 assignments a year, that’s just how I roll. The proces or finding someone new can get a little “CSI.” The method that requires the least amount of effort is to poach someone from a magazine I respect. That’s too easy, so if I really want to earn my paycheck I put together a case based on available evidence that tells me if a photographer is able to deliver the results I’m looking for. It all starts the first time I see a photograph I like taken by someone I’ve never heard of (this is actually somewhat rare). I write the name down on my list and begin collecting evidence. A name can go on the list and it could be years before I’ve built enough evidence or found the right project that triggers an assignment so there’s a lot of names in various stages of case building.

Hey I am all for an editor who will look at my work and pay me money to do what I love





Charlie Rose – Richard Stengel / Taryn Simon / Chris Rock

Thanks to Charlie Rose for posting all his shows on youtube. I always find it interesting to hear a photographer talk about how they have accomplished a really good body of work. You have to skip ahead a bit to get to Ms. Simon.

I will definitely be taking the train out to Princeton for this. I first saw Sheikh’s work at the The Tate Modern’s landmark photo exhibit, Cruel & Tender. His large, formal portraits of Somali woman with the accompanying text of the horrors they had survived, changed my understanding of photojournalism forever (and moved me to tears.) The exhibit at Princeton, is of his new body of work documenting the lives of women in India. The accompanying book is an extraordinary story of a country caught between its traditions and the modern world. What makes Fazal so special to me, is that he is never really present in his photographs, in the sense that the subject of his portraits is the subject of the portrait – they are named, and their story is told. Often in work that documents the suffering of others, despite the good intentions of the photographer, the work becomes about the artist, and the person in the image is objectified. Fazal Sheihk transcends these issues to make us think and feel about other people. I highly recommend you read Ladli, his Stedhl published book of the project available on his website for free. In a world populated with artists desperately concerned with their own importance, he is a rare gem. It is easy to say you care about what happens in the 3rd world, to poor people, to those who are truly suffering in the world, but it is quite a feat to give people there dignity, a voice and to make us look them in the eye and therefore show us that we are all the same.

Beloved Daughters: Photographs by Fazal Sheikh
September 29, 2007 – January 6, 2008

For almost two decades, artist-activist Fazal Sheikh has worked in communities of the displaced in Africa, South Asia, and the Americas. In 2005 he published his fifth book, Moksha (Heaven), which evokes, through photographs and testimonials, the lives of dispossessed widows in the northern Indian holy city of Vrindavan. Awarded both a MacArthur Fellowship and the International Henri Cartier-Bresson Grand Prize that year, Sheikh (Princeton Class of 1987) traveled to Delhi to create a new project, Ladli (Beloved Daughter), exploring the challenges that confront girls and young women in a fast-changing yet tradition-bound society. The two projects are combined in this eye-opening and thought-provoking exhibition.




I came across a trailer for a new documentary about the American corn industry, King Corn. I am not sure how I missed it at Cinema Village in October, but I am hoping it will come back to NYC, or I will have to rent it. I have been telling people for years about the American corn conspiracy only to receive blank stares. I am glad to see that someone it finally addressing this issue. Plus the movie looks irreverent and well shot. I will keep an eye out for it. Go here to see the trailer.

I also stumbled on to an even more disturbing trend in American marketing. The NY Times has a wedding marketplace section. There I found the new ‘wedding video’ ideas. They had choices of super 8, 16mm & 35mm. What is astounding is how adept they are at capturing and creating the female wedding fantasy. There is something so storybook about them, that even if you are jaded about the wedding thing you find yourself getting sucked in. It is truly frightening. I worked a bit in the wedding industry before I came to photography and I never saw anything at weddings remotely like these videos. I understand why people are spending so much money these days. After seeing this propaganda, they must feel enormous pressure to have this perfect, life changing, romantic dream wedding. I photographed one of NYC’s most popular wedding dress stores, and the amount of money that goes in to creating these fantasies is pretty incredible. This store really does create a Disney princess experience. Unfortunately my polaroid back malfunctioned and I only had a few images make it. There are so many parts of our modern day life that are now being dictated by these giant marketplaces. The thing that is most depressing to me, is that this level of production leaves no room for actual emotion or record of genuine experience. Things that are in increasing short supply in our culture.

NY Times Wedding Video – The Book of Love

The Princess Bride

Cara Phillips - The Princess Bride

Certain people, places and things seem to draw photographers again and again. Dissecting the attraction of these subjects is a worthy endeavor, and no doubt there are lots of very smart people out there with theories. But I am interested in the ability of certain images to stand in for larger emotions and ideas. It is surprising how these symbols can be used so many times and continue to have resonance, even if the meaning changes. I recently came across a poster of Marilyn Monroe, curled up sexy and naked, framed and hung in the offices of a high-end cosmetic dermatologist. The message was clear, in this office, we value and aim to provide the pinnacle of female sexual beauty. Marilyn is always the symbol of ultimate indulgence in female form. But she is also a symbol of emptiness, that can come when only the physical is valued. Sometimes even cliches can cut to the bone.











This past weekend, PBS’s Art 21 series featured one of my favorite artist’s, An-My Le. They have excerpts on the site now and it is worth a view. Le’s Small Wars is an extraordinary body of work. She is an artist who manages to make work that is rich with political and personal context, but free from dogma. She invites the viewer to consider the issues raised, and in doing so makes a much larger impact. Plus, I just love the idea of a women out there with the Marines and her 4×5. She is one of my photography inspirations. I have posted an interview from the show below and here is an audio interview with her from the Moma.



War & Aesthetics
ART:21: There must be a fine line between making a representation of war and aestheticizing it.
LÊ: The kind of work that I make is not the standard political work. It’s not agitprop. You would think, because I’ve seen so much devastation and lived through a war, that I should make something that’s outwardly antiwar. But I am not categorically against war. I was more interested in drawing people into my work to think about the issues that envelop war—representations of war, landscape and terrain in war. When I’m working with the military, I still think of myself as a landscape photographer. My main goal is to try to photograph landscape in such a way that it suggests a universal history, a personal history, a history of culture. But I also wanted to address issues of preparation (moral and military). It drew me in, but at the same time it was repellent. I’m fascinated by the military structure, by strategy, the idea of a battle, the gear. But at the same time, how do you resolve the impact of it? What it is meant to do is just horrible. But war can be beautiful. I think it’s the idea of the sublime—moments that are horrific but, at the same time, beautiful— moments of communion with the landscape and nature. And it’s that beauty that I wanted to embrace in my work. I think that’s why the work seems ambiguous. And it’s meant to be. War is an inextricable part of the history of high civilization; I think it’s here to stay. But I also think we need to try to avoid it as much as possible. I was not so interested in making work that you see on the news page, which has the effect of wanting you to condemn war immediately. I wanted to approach the idea in a more complicated and challenging way.
ART:21: But the work is also a kind of protest.
LÊ: It is somewhat a condemnation of war. I think it was an awful mistake. And I think some of these marines and soldiers feel that it was a mistake. That’s something that I’ve learned about people who join the military, that it is a profession. Some of them have a natural inkling for it and want to join combat services, but for some it’s just a profession. Once they sign up, it is a job and they want to do it well. So no matter what happens they give up their own decision-making and follow whatever the government decides. And they are just trying to finish that job. I think many of the marines and soldiers feel that we shouldn’t be there. Or maybe that what were trying to do has not really panned out.
ART:21: There’s a quiet subtlety to your photographs of the Vietnam War reenactors. Why is that?
LÊ: The pictures of the reenactors shy away from some of the more subversive scenes that they performed—whether taking prisoners or their rough handling of the other camp. I didn’t find it fruitful to dwell on that or try to replicate some of the horrific moments that happened during the war. I stayed away from that, and obviously that comes from my personal background. But with the help of the reenactors, this was a way to direct my own movie without having the means and potential to be my own director. I don’t have such a great imagination, so seeing certain things that they did inspired me. I was able to make a Vietnam War that was ultimately safe, a game. In that way, I was able to bring in my own experience.
ART:21: Why have you’ve chosen black and white versus color photography for certain projects?
LÊ: Black and white was always my choice because of my interest in drawings. A black-and-white photograph is just more pronounced because it’s all about lines and the changes are tonal, from grays to darker grays to blacks and to whites. So drawing is conserved in the black and white palette. What’s interesting to me is that the fact that color is removed somehow makes certain things more obvious. One is not distracted by the fact that it’s connected to real lives—or perhaps I should say that black and white is a little bit more removed from real life than color photography is. It is removed from reality—it’s its own thing. People talk about black and white and how it’s associated with memory, but that doesn’t really work for me. They also talk about it being old-fashioned or obsolete, but I think it is very contemporary. It’s so unlike anything else and so removed from reality that if you use the right subject matter it can be very powerful. I thought of using color for the project on the military and the sea mostly because I was drawn to the way color would describe a gray on the hull of a ship versus a gray that’s more organic—the gray of the ocean at certain times of the day or the gray of the sky on an overcast day. I don’t think black and white could distinguish between a cold or metallic gray and something that may have a bit more warmth and that’s more organic. That’s my only reason for switching to color, and that’s a good instinct. I tend not to like garish things, so I have probably developed my own palette—which is black and white, and color—perhaps. I’m learning and, over time, I think I’ll develop my own color palette.
ART:21: How does using a large format camera impact the work?
LÊ: It’s the same camera I’ve been using since 1991, and it’s a very cumbersome camera. Because it’s so cumbersome, it makes me make a particular type of picture. It forces me to resolve certain questions. If you want to photograph something and the camera is not suitable for it, how do you figure it out? How do you solve the problem? These questions came up photographing military exercises. Of course Timothy O’Sullivan did it in the nineteenth century during the Civil War and other photographers like Roger Fenton did it, but it just seems unsuitable. So how do you resolve those issues? I’m interested in what I have to go through to make it work. It forces me to make a particular type of pictures and I like what it makes me do. Working against the grain forces me to come up with new ways of resolving something, instead of being comfortable all the time. For instance, taking the camera on the ship was very difficult because of the ship’s movement. And one can easily compensate with a handheld camera, but how do you resolve that when you’re on a tripod, or when you want to photograph action with such a cumbersome camera? It just forces you to work in a different way.
ART:21: Do you think there’s a built-in relationship between photography and the sublime?
LÊ: I think there’s always an element of something not quite understood in the sublime, something otherworldly, conflicting—something beautiful that’s not always beautiful, and something that’s not quite controllable and not within our reach. I don’t think that photography is made to capture and describe magic, but there are great magical moments in still photographs.
ART:21: You seem to adapt easily to photographing in environments you are not necessarily a part of.
LÊ: I think the camera’s a pretext. I don’t think I would otherwise ever gain access to the military and learn about all these things. The camera is a pretext to allow me to get inside and learn about what it’s like to train as a Marine and live the life of a Marine. My interest in finding out about other groups of people has to do with a desire to belong to something. Because I’ve led such disjunctive life and I’ve moved around so much, I’m always testing my power to adapt. It’s difficult and it’s stressful, but I think there’s something of challenging and satisfying knowing that you can adapt.

I re-read my earlier post and fear that it sounds like I did not enjoy the Blind Spot event. All of the participants were passionate and intelligent. It is great to hear photography discussed at that level. I only wanted to question the idea that there is a right/wrong dichotomy in photography that was implied in the lectures by some of the panelists. I guess a good photograph is like the legal definition of porn, “you know it when you see it,” even if you cannot point to what exactly make it so compelling. It can be from a 35mm, 8×10 neg, or a digital file, it can be color or black & white, about everything or about nothing. There is no formula. Everyone who spoke at the event is a great picture maker, and I can do nothing but respect them for that.

I attended the Blind Spot’s Collapsing Images lecture this weekend, and to be honest hearing so much talk about photography, sort of killed my enthusiasm to write about it. I think at the moment, I am trying to sort out my own definition of what photography means to me, and sometimes hearing so much from other, albeit very talented & intelligent people, is not helpful. While I have enormous respect for many of the panelists, it was disappointing to hear so much bad-mouthing and dismissal of other artists and genres of work. Perhaps it is the nature of an open-ended panel, to fill the silence by being entertaining. Nothing gets a laugh like an outrageous and negative comment. But in the end, the whole thing made me a little sad and bitter about the art world. These were all people with so much success, and they seemed to be angry and unhappy with what it currently means to be a artist. In a way, the panel seemed to reflect the current state of society. We never seem to have enough, and we are always worried that what we do have will taken away from us. That is an environment that breeds hostility, contempt and competition. Katy Grannan, mentioned during the lecture that she decided to be a photographer after seeing Robert Frank’s The Americans. Frank seems to be the one for many of the artists before and after her, myself included. His dark, grainy photographs, that captured everything that was rotten and vainglorious about our culture are just as relevant today and when he set out on the road in the 1950’s. I guess it is difficult to operate as a artist concerned with documenting or reflecting culture in a world so dismayed.

While the panels focused on more traditional forms of image making, the current issue of Blind Spot, curated by Marco Breuer focuses on art that examines process. Breuer says:

In the first place, its not the technology I am interested in so much as the idea of true investigations into photography, as opposed to illustration. I was looking for alternatives to the default of contemporary photography, which is now a 4×5 color negative, whether portrait or typology, blown up to 30×40 inches or larger and mounted behind plexi.

In some ways, I very much agree with Breuer. Chelsea is full of work that is interchangeable and without interest other than its formal or aesthetic qualities. But I think to dismiss one form of picture making as less valid can be dangerous. It is interesting to see work that breaks from this convention, but I am not convinced that breaking free from form alone can move photography into a new direction. Certainly John Baldessari, Cindy Sherman, and the rest of the seventies post-modern generation already went through this territory, and at that time, it was a image making revolution. Now, no one questions the validity of Liz Deschenes Moires, because of those pioneering artists. It seems that it would be better look at Deschenes, and Michelle Kloehn’s ambrotypes as reflections and reactions to our cultures obsession with technology. Their work becomes infinitely more relevant when it is taken out of the ‘conceptual photo’ context. If artists have become obsessed with process, whether it’s digital manipulation, new forms of making photographs, or using obsolete processes, maybe it is because we are all bombarded with so much process in our everyday lives. My boyfriend and I recently switched to DVR cable, and had to replace our box & remote. The new remote, even with a 10 page instruction book is almost incomprehensible to operate. Every moment we are confronted with new technologies to master and comprehend. This is the reality of modern live, so should art not also be challenging? Artists can choose how they wish to reflect the world. I personally am not as interested in work that is exclusively reliant on form, and at this moment, photography should concern itself more with how it can capture the enormous changes in world, and not focus so much on itself. However, being so quick to dismiss a typology of larger color prints which may indeed have something new to say, is just as wrong as those who dismissing Thomas Demand & Jeff Wall for “making” their images.

Robert Frank

Liz Deschenes

This weekend’s events are a great mix of the old guard (PL Di Corcia, Paul Graham, Jack Pierson) and some newer and emerging photographers. Thanks to Andrew Hetherington aka The Jakanory, for becoming blogland’s premier provider of photo events, gossip & info. I must admit to have become completely dependent on his info, I am fascinated on how he finds all this stuff, he is the commercial photo world’s Walter Winchell. I am definitely going to go to this find:


Collapsing Images Forum

As a counter-point to the visual conversation provided by the magazine, the Collapsing Images Forum aims to give a voice to the issues surrounding photography, and discuss the role of photography in the media and popular culture. Collapsing Images presents three vital discussions led by leading photographers, filmmakers and critics.

Part I A Conversation between Jack Pierson & Jerry Schatzberg (2:00 pm)
Part II Money, Money, Money, Money (4:30 pm)
Part III Truth and Authenticity in Photography (7:30 pm)

This event is co-sponsored by Blind Spot in association with Fred & Associates.

Blind Spot is the international source book of photography-based fine art for artists, collectors, creative directors, designers, curators and art lovers. Blind Spot publishes new works by the renowned artists and discovers vital new work by up-and-coming artists. Fourteen years old, Blind Spot has gained an international reputation for being a visual magazine that does not talk about imagery—the content is imagery.

Tickets Type in “spot” to save 5 bucks!

And my pick of the week is:


A Field Guide to the North American Family Book Launch. The exhibition will open at Gallery Bar (120 Orchard Street) on Thursday, December 6, but for now, we would like to invite you to attend the book’s launch party tonight at Housing Works Used Book Cafe.


A Field Guide to the North American Family Book Launch
Tonight, Friday, November 2
Housing Works Used Book Café
126 Crosby Street (between Houston/Prince and Lafayette/Broadway)
7 – 9 pm

Reading and photo slide show begins at 7 pm

Free beer, wine and baked goods

We hope to see you there. Now, go buy the book:

The Field Guide opening is being curated by my Friends, The Humble Arts Foundation, which is a pioneering online photography gallery. In the flickr debates, they have emerged as a serious & thoughtful contribution to the fine art photo community. I think we will see a lot more from them in the future. The book features many of the photo blogging worlds most well known names. Some photogs worth a look from the book.

Shane Lavaette

Shane Lavalette

Ben Huff

Ben Huff

Gus Powell

Gus Powell

Brian Ulrich His show at Julie Saul last year was also a must see.

Brian Ulrich

Sara Macel

Sara Macel

Elizabeth Fleming

Elizabeth Fleming