Tag Archives: Eye Gallery

Eric Breitenbach

Today, and leading up to and after November 6th, LENSCRATCH will be featuring work that looks at our election process. 

We start today with work by Eric Breitenbach, who has created a series, Election 2012.

Eric  has been a still photographer for over thirty years and a filmmaker for more than fifteen.

His still photographs have appeared in such publications as The New York Times Magazine, Newsweek, Details, Doubletake, Information Week, Labor’s Heritage, Essence, and Orlando magazines. He has exhibited widely. In 2012 he had solo exhibitions of his photography at The Third Eye Gallery in Varanasi, India, and at Florida School of The Arts in Palatka, Florida. Eric Breitenbach is also a Senior Professor at The Southeast Center For Photographic Studies at Daytona State College, teaching courses in photography, film, and video.

 For as long as I’ve been a photographer I’ve been compelled to make pictures of people. My goal is to discover something universal about a person—something viewers can recognize and even identify with. The trick is to then depict that successfully in a photograph. In early 2011, as events surrounding the 2012 presidential election began to unfold, like many Americans I was astonished at the heat of the political rhetoric. It seemed as if angry extremists were running the show.

Dismayed but still curious, I began to attend and photograph campaign rallies, political conventions, memorial services, group meetings, demonstrations, festivals, and other politically relevant events. There were thousands at the largest of these, sometimes less than a dozen at the smallest.

My goal wasn’t to document or explain anything; that, I think, is best left to the journalists. 

I set out with my usual strategy in mind—to attend, observe and make photographs. The role may be considered to be like that of an explorer, a finder and provider of artifacts that might one day be useful in comprehending, in this case, the cultural, social, and political mindset of 2012 America.

Photo News – Portrait Salon calls for unselected photographs from entrants to this year’s Taylor Wessing Photographic Portrait Prize 2012

Portrait Salon is planning its second annual ‘Salon des Refuses’ for the unselected photographs from the well-known international Taylor Wessing Photographic Portrait Prize.

So, if you have one, two or a few of the 5,280 unselected images from the 5,340 images received by 2,352 photographers, then you can re-submit your images to Portrait Salon via the submissions page. If you don’t feel like doing the maths, this means that 60 images are shown each year. This year, if you have a betting inclination, the odds were a 1:89 chance of getting an image shown.

“Portrait Salon is a type Salon des Refuses – an exhibition of works rejected from a juried art show – which has a long tradition as a fringe way of showcasing artists’ work that may otherwise go unseen. Devised in 2011 by James O Jenkins and Carole Evans, Portrait Salon aims to show the best of the unselected entries from the 2012 photo portrait prize.

“Portrait Salon will celebrate the best of the rejected work in the form of a projection and newspaper launch in November. In order to maintain a high standard of imagery, the projection will be curated. This year, we are delighted to have the help of Open Eye Gallery curator Karen Newman, Hat Margolies from Lucid Rep and photographer Dan Burn-Forti.”

Filed under: Photographers, Photography Awards & Competitions Tagged: Carole Evans, competition, James O Jenkins, National Portrait Gallery, Photography, Portrait Salon, Taylor Wessing Photographic Portrait Prize

Kelli Connell: Double Life

Floating, 2005; from the series Double Life (c) Kelli Connell

These two women seen above floating in a pool–this never actually happened. Kelli Connell, whose work as Leo Costello claims, “falls within a tradition of Surrealist photography… [giving] form to the multifaceted, dynamic unconscious,” digitally manipulates her images to combine multiple exposures. She uses what is commonly thought of as an objective tool to create what she has instead termed “constructed realities.”

Her series Double Life (on view at Photo-eye Gallery through June 30, 2012) in which she employs this technique, “documents” the evolving relationship between two women (one model). In addition to exploring the visual rhetoric of digital imagery, the work is an investigation of and a kind of metaphor for the fluidity and instability of identity, sexuality, and gender roles.

“By digitally creating a photograph that is a composite of multiple negatives of the same model in one setting,” Connell writes in an artist’s statement, “the self is exposed as not a solidified being in reality, but as a representation of social and interior investigations that happen within the mind.”

This solo exhibition has previously been on view at Yossi Milo Gallery in 2007, and Catherine Edelman Gallery in 2011. That same year, Decode Books also published the Double Life monograph, which is reviewed here by Time Out Chicago and was featured as one of American Photo magazine’s Books of the Year.

A limited-edition print from that series, Floating, 2005, is available for purchase from Aperture. The image also appears in Connell’s volume of the sold out tripartite series MP3: Midwest Photographers Publication Project (Aperture 2006).

Additionally,  Connell’s work has appeared in Photo Art: Photography in the 21st Century (Aperture 2008) and The New York Times Magazine Photographs (Aperture 2011).

Prior to the show, check out a transcribed conversation between Connell and American portrait photographer Dawoud Bey on the subject of Double Life at Flak Photo.

Kelli Connell: Double Life
Exhibition on view:
June 1 – June 30, 2012

photo-eye Gallery
376 Garcia Street
Santa Fe, New Mexico
(800) 227-6941

Richard Mosse: Infra @ Open Eye Gallery, Liverpool

All photography is a kind of step away from reality. Few photographers within the documentary genre have gone further to embrace this notion than Richard Mosse, whose current photo project exploring armed conflict in the eastern province of the Democratic Republic of the Congo, Richard Mosse: Infra, opens today at Open Eye Gallery, Liverpool.

“Documentary photography is now at the moment where it has to change,” says Mosse. “It is behind the times – the forms of modern conflict are profoundly complex; their narratives are impossibly difficult to convey.”

Investigating a fresh form to represent the continued hostilities surrounding the deadliest war in human history—a very old and ongoing conflict that had gone stale in popular consciousness—Mosse toured eastern Congo between 2010-11, armed with two cameras and a supply of Kodachrome film, rendering the characters of this war in vivid hues of lavender, crimson and hot pink. The tension between the hot pink-tinted worlds rendered on film and the devastating subject of the photography is what makes Mosse’s work so compelling. In taking a step away from the standard visual language of photojournalism, Mosse is producing unimaginable images that effectively underscore the truly unimaginable reality of the conflict they capture, a modern conflict too opaque for standard methods of representation.

»Read Richard Mosse’s interview with Liverpool Daily Post on his Infra series and exhibition
»Watch Richard Mosse discuss the stories behind Infra, and preview the Open Eye Gallery installation

Richard Mosse: Infra will be on view March 30 through June 10, 2012

Open Eye Gallery
Liverpool, United Kingdom
+44 (0) 151 236 6768

Also consider Richard Mosse’s first book, Infra: Photographs by Richard Mosse (Aperture 2012), or a limited edition print from the Infra series, “Debris, North Kivu, Eastern Congo, 2011″

Richard Mosse is also featured in Aperture Magazine # 203, “Richard Mosse: Sublime Proximity interview with Aaron Schuman”

1000 Words Talk: Simon Baker in conversation with Chris Shaw

All images © Chris Shaw

*10.04.12-SOLD OUT*

1000 Words is pleased to present Before and After the Night Porter, a conversation with Simon Baker and Chris Shaw.

Daniel Blau Gallery, London 

11 April 2012, 7pm

During Tokyo Photo Fair 2011, Simon Baker, Curator of Photography and International Art at Tate, presented the work of British photographer, Chris Shaw, together with Japanese post-war, avant-garde photographers of the Provoke movement, Eikoh Hosoe, Daido Moriyama, Kirkuji Kirwada, Takuma Nakahira, Masahisa Fukase and Ikko Narrahara, who, from a distance, served as a major inspiration to Shaw’s attitude and approach beginning with his celebrated book, Life as a Night Porter. The evening’s discussion will examine Baker and Shaws passion for Japanese photography and its influence on his practice.

To book your ticket, click on the Paypal button below:

Chris Shaw
began working in London hotels in 1993 and over a ten year period he created what would become Life as a Night Porter which was published in 2006 by Twin Palms. Born in 1967, Shaw studied photography at the West Surrey College of Art and Design at Farnham, graduating in 1989, and has had solo exhibitions at the Open Eye Gallery in Liverpool, GUP Gallery in Amsterdam and 779 Gallery in Paris. Shaw has also been shown as part of Paris Photo and Arles Photography Festival in 2005.  He lives in Paris.

His work was featured in issue 12 of 1000 Words.

Simon Baker is Curator of Photography and International Art at Tate. He is Tate’s first curator of photography and joined in 2009 from the University of Nottingham, where he was Associate-Professor of Art History. He has researched and written widely on surrealism, photography, and contemporary art; and co-curated the exhibitions Undercover Surrealism: Georges Bataille and Documents (Hayward Gallery, London, 2006) and Close-Up: Proximity and defamiliarisation in art, film, and photography (The Fruitmarket Gallery, Edinburgh, 2008).

Our talks are open to everyone. We recommend booking early to avoid disappointment. Numbers are limited to 60 people.

Daniel Blau Gallery
51 Hoxton Square
London N1 6BP
+44 (0) 207 831 7998
[email protected]


*10.04.12-SOLD OUT*

Jessica Bruah, Ceremony for New Dam

Jessica Bruah, Ceremony for New Dam

Jessica Bruah

Ceremony for New Dam,
Lake Delton, Wisconsin , 2008
From the No Lake This Summer series
Website – JessicaBruah.com

Jessica Bruah received her MFA from the School of Visual Arts in 2009 and her BFA from Columbia College Chicago in 2004. She has exhibited work both nationally and internationally, including shows at Jen Bekman Gallery in New York City, Catherine Edelman Gallery in Chicago, and Photo-Eye Gallery in Santa Fe. In 2010 Bruah was awarded a Swing Space artist residency through the Lower Manhattan Cultural Council. She also had two solo exhibitions in the past year: one in Fall of 2010 at Georgia College Museum for her project Stories, and one in the spring of 2011 at ACRE Projects in Chicago. In the fall of 2012 she will be a resident at the Vermont Studio Center. She blogs about her work at JessicaBruah.Tumblr.com.

Erik Boker

I am a big fan of Erik Boker’s work. It’s smart, focused, funny, and spot on. I’ve shown his dissected tooth paste tubes in my classes to much laughter and fascination and I appreciate that Erik is looking at what we consume and reflecting it back to us in a way that makes us see it. I am featuring work from several series to give you a taste of what Mr. Boker is serving up–the first series, Ascencion of the Brand, is featured in Klompching Gallery’s Fresh exhibition in New York.

Erik was born in New York and raised in Alabama. After receiving a degree in anthropology from Vanderbilt University and in between extensive nomadic ramblings he earned his second degree in fine art and photography at the Art Center College of Design in Los Angeles. And he may be heading off to Holland soon to work on a Masters degree.

Erik’s work has been has been exhibited extensively in New York, Los Angeles, Boston, Santa Fe, Toronto, Montreal, London, Italy, and Taiwan, including the Center for Fine Art Photography, The Griffin Museum of Photography, photo-eye Gallery, The Lennox Contemporary, Galerie Art Mur, the Lodz Art Centre, and the India International Center (New Delhi).

ASCENCION OF THE BRAND: T-shirts collected and preserved between the years 2001-2011 in various regions of America showcase a trend that represents the ultimate deification of either a well-known detergent or coffee company, or else hints at how thin the line has become between commodity and religion.

PRODUCT DISSECTIONS, PART I: This project is an ongoing exploration of the roles of art, science, nature, the consumer, the institution, product, fabrication, reality, taxonomy, and our relationships with seemingly insignificant objects and materials that affect us daily. It approaches issues of anatomy and the figure, psychology, the nature of science, and archaeology, while offering a revealed view within the plastic skins of what we consume, as the delicate tension between death, health, and hygiene collide with the extremities of marketing, with bold, impractical, purposeless colors sometimes reminiscent of expressionist painting. I am interested in the notions of foundation, institution, and the nature of art as commercial product. I am continually inspired by the function and treatment of both nature and the unnatural in our environment, and I continue to explore our understanding of their roles, and the inherent beauty, humor, and horror that lies within them.

© Erik Boker, Colgate Junior, Bubble Fruit, 2008

© Erik Boker, Oral B Stages (For Kids), Bubble Gum Magic, Disney Princesses, 2008

© Erik Boker, Aquafresh, Anti-Cavity, 2008

© Erik Boker, Colgate Max Fresh, Kiss Me Mint, 2008

© Erik Boker, Crest Whitening Expressions, Extreme Herbal Mint, 2008

ANIMAL SNACK KINGDOM: By way of taxonomically surveying the existing variation of phyla and species in the animal snack kingdom, this work takes the role of the museum into the realm of chewy nature and its “natural flavors,” “strong, satisfying sours,” and yellow #5, with the idea of pop culture as a catalyst to an evolution of species. This series continues to explore curiosity and a scientific wonder, though devoid of really any nature or natural substance, and with determination of cataloguing new discovery and nomenclature in this unknown world of glucosic, preserved natural forms that have befuddled scientists for generations.

© Erik Boker, Insectae, 2011

© Erik Boker, Oceanicae, 2011

© Erik Boker, Familia Bears, 2011

© Erik Boker, Reptiliae, 2011

© Erik Boker, Carnivores, 2011