Krzysztof Wodiczko, ...Out of Here: The Veterans Project, image courtesy of Gall

The large back room of Krzysztof Wodiczko's show ...Out of Here: The Veterans Project, at Gallery Lelong, is darkened, the walls painted grey and the lights turned off.   Windows are projected high onto the gallery walls, creating the illusion that light is coming in from outside.  Audio fills the space as I fix my gaze on the passing clouds and sky seen through the windows.  Children are heard playing outside.  They are out of view on the other side of the wall.  Through the dirty industrial panes of glass I see their ball being tossed passed the windows.  They round the corner of the building, still tossing the ball, when suddenly it is thrown into the window, breaking the glass.  Women are heard calling to one another.  Its hard to identify their language, and its not until the silhouette and sound of a helicopter appear that i begin to place myself on either of the two fronts of America's wars.

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Bichonnade, 40, Rue Cortambert, Paris (1905)

   The photograph Bichonnade, 40, Rue Cortambert, Paris (1905) (above) is perplexing. It looks like the photographer has asked a complicatedly-dressed young woman to jump off of the stairs for a picture. And it's not just a couple of stairs, it's like six or seven, and in the picture the woman looks like she is flying. At the turn of the 20th century, when photography was still a highly exclusive activity, left to professional practitioners and serious amateurs, who would have taken a picture like this?  The answer is a curious, pre-pubescent, affluent boy named Jacques Henri Lartigue. In a time when not many eleven-year-olds had access to photography, Lartigue's pictures stand out in the history of photography for their precociousness and their desire to make the world float.

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Johnny Cash Copyright Jim Marshall

Thursday, March 24 is an exhibition opening at Morrison Hotel Gallery, 116 Prince Street, Soho, NYC, featuring photographs of Johnny Cash and friends by Jim Marshall, who shot five Cash album covers during his long, storied career as a rock and roll photojournalist. On view will be rarely-seen and iconic images taken between the mid- ’60s and mid-’70s, including intimate photos of the Cash family over a period of 30 years.

Beforehand, Michelle Dunn Marsh, editor and photo book designer, will be giving a brief talk/slideshow presentation from his last book, Pocket Cash, across the street at the Apple store,103 Prince St., at 7:00 pm, followed by the gallery opening in the Loft space at #116 until 10 pm.

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The Laughter and Forgetting (L.A.F.) Project documents life on the road to democracy in the former Soviet state of Georgia by bringing together the work of many photographers, both Georgian and international. Through exhibits and an online Photoblog, photographers will be able to document life and address issues in Georgian society, creating a global community while bringing these concerns to the attention of the rest of the world.

The first theme of L.A.F. in Georgia is centered around the Internally Displaced People (IDPs); approximately 240,000 IDPs remain in the country whose population is only 4.5 million.

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Detroit, MI from ANAP by Doug Rickard

What photographers do is take the real stuff of the world and edit it down, noticing, choosing, pointing, framing, removing something from one context and placing in another, hopefully transforming it in one way or another. What if there is a second camera directly involved, or nine? Google Earth and Street View are adding another layer to the way we can interact with our environment, all from the comfort of our home computers or our iPhones. We can fly around the world in an instant, see the activity along roadsides and curbsides from Kalamazoo to Kishniev. If photography itself is really a form of editing, does it matter that the initial camera operator is not the artist himself, but a spooky, indiscriminate Google car thousands of miles away, connected by satellite and signal? Does authorship even matter, or is the anonymous, motor-driven nature of this image collecting an interesting conceptual layer? Anonymous people shot by an anonymous camera.

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Daylight Books Launch Party
Friday March 4th, 9-11pm
25CPW, NYC


Please join us in celebrating the release of Daylight’s first full-length monographs:

Bruce Haley’s Sunder and Alejandro Cartagena’s Suburbia Mexicana.

Featured by the New Yorker and New York Times!

Download the press release here

Check out some party pics here

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Hank Willis Thomas
HOPE and QUESTION BRIDGE
A collaborative, multi-site exhibition, curated by Diego Cortez, January 20 – March 4, 2011, John Hope Franklin Center and Franklin Humanities Institute, Duke University, Durham, North Carolina

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Interview with Elizabeth Moreno
Winner and Juror’s Pick (Vince Aletti), Daylight/CDS Photo Awards Work-in-Process Prize

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august sander

I like to collect things. As a teacher of (and also as a life-long student of) photography, I am always looking for articles, essays, interviews about my chosen medium. At one time, rarer pieces were hard to find - maybe in the bottom of a desk drawer in Xerox form, maybe in an old folder of readings I kept from college, acquired from barter and exchange w/ other teachers, or from just hunkering down at the copy machine in a good arts library. I have physical files and virtual folders of all the images and articles I come across that strike me as worth saving, for one reason or another. They contain articles about my favorite photographers, pictures torn from magazines, future (and past) readings for my classes. The internet has changed everything, though, with its encyclopedic, searchable base of knowledge.

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From the project, "The Distance Between Us." © Christopher Capozziello/AEVUM

Christopher Capozziello, a photojournalist currently based in Hamden, Connecticut, has worked on projects all over the United States, but for the past several years he has often stayed at home photographing his twin brother. Mr. Capozziello introduces his project, titled "The Distance Between Us," with the following statement:

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