Lydia Panas is an award-winning photographer whose work has been exhibited widely throughout the United States and abroad, and has won numerous awards. She was one of nine International Discoveries, Houston Fotofest in 2007. Her work is included in numerous collections, including Museum of Fine Arts, Houston, Brooklyn Museum, and Museum of Contemporary Photography, Chicago. Lydia has degrees from Boston College, the School of Visual Arts, New York University/International Center of Photography, as well as an Independent Study Fellowship from the Whitney Museum of American Art. Lydia has taught photography at a number of institutions, including The Museum of Modern Art, Lafayette, Muhlenberg and Moravian Colleges, Kutztown University, The Maine Media Workshops, The Vermont College MFA program, and the Baum School of Art/Lehigh Carbon Community College.
David Maisel was born in New York City in 1961. He received his BA from Princeton University, and his MFA from California College of the Arts, in addition to study at Harvard University's Graduate School of Design. Maisel was a Scholar in Residence at the Getty Research Institute in 2007 and an Artist in Residence at the Headlands Center for the Arts in 2008. Maisel’s photographs, multi-media projects, and public installations have been exhibited internationally, and are included in many public collections, such as the Metropolitan Museum of Art; the Los Angeles County Museum of Art; the Victoria & Albert Museum; the Brooklyn Museum of Art; the Santa Barbara Museum of Art; the Yale University Art Gallery; and the Museum of Fine Arts, Houston, among others. His work has been the subject of four monographs: The Lake Project (Nazraeli Press, 2004), Oblivion (Nazraeli Press, 2006), Library of Dust (Chronicle Books, 2008), and History's Shadow (Nazraeli Press, 2011). His newest book, Black Maps: American Landscape and the Apocalyptic Sublime, will be available in Fall 2012. He lives and works in the San Francisco area.
Guatemalan photographer, Jaime Permuth, lives, works and teaches in New York City. Jaime takes advantage of New York and Guatemala’s rich visual cultures and interprets his curiosity about these places through projects that are varied and intriguing–projects have started by picking up a copy of the Torah Times on the subway and discovering places for Afternoon Prayer in New York, or contemplating Adam and Eve in the 21st Century. The work featured today is about the scrap metal community in Willets Point, Queens, New York, and is titled, Yonkeros.
Jaime has exhibited internationally at the Museo Nacional de Arte Moderno in Guatemala, Casa del Lago in Mexico City, and the Israeli Parliament. In NYC, he has shown his work at The Museum of Modern Art, The Queens Museum of Art, The Bronx Museum of the Arts, The Museum of the City of New York, The Jewish Museum, El Museo del Barrio, and The Brooklyn Museum of Art. His work can be found in the collections of The Museum of Fine Arts Houston, The Brooklyn Museum of Art, The Museum of the City of New York, Yeshiva University Museum, State University of New York New Paltz, Art Museum of the Americas (DC), Fullerton Art Museum (CA) and Museum of Art Ft. Lauderdale (FLA). He is a Faculty Member at the School of Visual Arts where he teaches in the Master of Professional Studies in Digital Photography program.
Yonkeros is a popular term for businesses that strip wrecked cars and sell them as scrap metal or for parts. The term is a Spanglish derivative of “junk”, conjugated grammatically to refer to people who engage in this line of work.
Yonkeros is a lyrical exploration of first world consumerism, waste, and obsolescence as they intersect with third world ingenuity and survivalist strategies in the no-man’s-land of Willets Point, Queens.
This series of photographs is both an appeal and a eulogy; the City of New York is determined to erase the existence of this small enclave, not withstanding that it continues to provide an essential service to the community and that it constitutes a source of income and employment to a segment of the city’s immigrant working class. But above all, Willets Point is a vast inventory of parts, and like all catalogues it is also a poem.
Julia Gillard was born in Illinois. She is a graduate of the International Center of Photography’s Photojournalism and Documentary Photography Program. Her work has been exhibited at the Brooklyn Museum, The New York Historical Society, powerHouse, Capricious Space, Galleri Lundh Åstrand (Stockholm), and has appeared in New York Magazine, Mother Jones, The Fader and the New York Times. Her new series, Greetings From Florida is being exhibited through July 30th at This Must Be The Place in Brooklyn, New York.
Jonathan Blaustein is an artist and writer based in the mountains of Northern New Mexico. He studied Economics and History at Duke University, before receiving an MFA in Photography from Pratt Institute in Brooklyn in 2004. He has exhibited his work widely in the United States, and his photographs reside in many important permanent collections, including the Library of Congress, the State of New Mexico, the Brooklyn Museum, MOPA, the UNM Art Museum, and the Museum of Fine Arts, Houston.His work focuses on the intersection of economic theory, globalization, commodification, and culture in the 21st Century. His last project, The Value of a Dollar, was published by the New York Times in 2010, and subsequently went viral on the Internet. Ultimately, the conceptual photographic project was seen by millions of people around the world, creating dialogue about the manner in which food represents deeper issues of wealth, class, power and health. His current project, MINE, debuted in Santa Fe in May of 2012, and was published online by the New York Times. Jonathan also writes about photography and culture for A Photo Editor, a blog for the global photography industry.
Photographer Hank Willis Thomas–the first ever recipient of the Aperture West Book Prize–along with Chris Johnson, Bayeté Ross Smith and Kamal Sinclair, spent the last several years traveling cross-country, collecting video interviews from hundreds of black males across a wide range of socio-economic strata. Now on display at the Brooklyn Museum and four other locations around the country, Question Bridge: Black Males, weaves 1500 video exchanges by 150 men from 12 different cities who have never met into a wildly innovative “stream of consciousness dialogue,” across multiple screens and platforms. Elements of chance, spontaneity and audience participation work to deconstruct dominant stereotypes of black males in the collective consciousness. Jesse Williams, their Executive Producer, discusses this project and the prospect of future Question Bridges in an interview with Indiewire.
200 Eastern Parkway
Brooklyn, NY 11238
Exhibition on view:
Now through Sunday, June 3, 2012
Oakland Museum of California
1000 Oak Street
Oakland, CA 94607
Exhibition on view:
Now thru Sunday, July 8, 2012
City Gallery at Chastain
135 West Wieuca Road, N.W.
Atlanta, Georgia 30342
Exhibition on view:
January 27 – March 17, 2012
Sundance Film Festival 2012
1825 3 Kings Dr
Park City, Utah 84060
Exhibition on view:
Now thru January 29, 2012
Utah Museum of Contemporary Art
20 S. West Temple
Salt Lake City, Utah
Exhibition on view:
Now thru May 19, 2012
This monumental transmedia installation is not Thomas’ first exploration of the crisis of black male identity in the United States. His deeply personal, grim, but darkly humorous first monograph Pitch Blackness brought him wide recognition as one of the most compelling artists emerging today. A limited edition print of his 2011 photograph, After Identity, What? is now available for purchase at Aperture.
Rob Stephenson's work has been exhibited at various venues including The Brooklyn Museum of Art, the Jen Bekman Gallery, The Lehman College of Art Gallery, The Museum of the City of New York and the Coconino Center for the Arts. He lives in Brooklyn, NY. He is the recipient of the 2011 Photo Urbanism Fellowship from the Design Trust for Public Space.
On November 3rd, New York Photographer, Marc Yankus will opening his third solo show at Clampart in New York City. The exhibition, Call it Sleep, will run through December 17th and feature work from several projects.
Marc was originally a painter and a collage artist, and began to incorporate his own photographs into his art making over a decade ago. He has a talent for moving between the old and the new, where his work is at once contemporary, and timeless. Because Marc creates work not only for exhibition, but for book covers, magazines, and posters, his work has the remarkable quality that allows our imaginations to continue the narrative once we have experienced the work.
Marc’s photographs have been exhibited in galleries and museums across the United States and in international art shows. His work has been included in exhibitions at The Brooklyn Museum, Brooklyn, NY, Exit Art, New York City, The Library of Congress, Washington DC and at ClampArt, New York City.
Marc’s artwork has graced the covers of books by Salmon Rushdie, Philip Roth, and Alan Hollinghurst, among many others. His images have also been used for theatrical posters for such acclaimed Broadway shows as Jane Eyre; August Wilson’s Ma Rainey’s Black Bottom; and John Patrick Shanley’s Pulitzer Prize winning play, Doubt. Additionally, Yankus’ photographs have appeared both on the covers and inside the pages of numerous publications ranging from The Atlantic Monthly to Photo District News. The Museum of Fine Arts, Houston, and Department of Prints and Photographs of The Library of Congress have acquired his work for their permanent collections, as well as many private collections.
CALL IT SLEEP: In New York, where I grew up and where I live and work, the passage of time and the changes left in its wake are keenly communicated to me in its buildings and streets. This palpable history has instilled a poignant sense of perspective in my work. I am drawn to the romance of New York’s old architecture; its majestic and now rare materials never seem to lose their power to enthrall imagination. In the city’s moments of tranquility, especially at dusk and when night falls, the looming shapes, diffused light and spectral shadows invest the recurrent transition with a hushed feeling of magic and anticipation that I seek to capture in my photographs.
A pervasive tone of contemplation and reverie informs the content in all my work. My portraits purposefully evoke the subjects’ quiescence or lucid stillness, as T.S. Eliot so perfectly put it. My aim in this respect is to transcend an anecdotal level of interest in favor of underscoring and communicating a sense of humanity in the subject with which the viewer can identify.
The use of photomontage in some of my work draws on my prior experience in painting and collage. The process of superimposing the old on the new is more than metaphorically aligned with the historical aspects that are so compelling to me in my cityscapes, as well as the transient perspective inherent in my portraiture. In the photomontages my evocation of the
experience of memory, imagination and dreaming is played out in an invented, visionary place composed of two worlds; the real and the imagined. In some of these works, I have employed imagery that summons a glimpse of childhood to heighten the inverse perspective of memory. At first glance, the pictures may appear to tell a story, but ultimately no narrative is revealed; their content may be understood to reside in the realm of sensation.