“…Abe’s Penny is a lit mag paired down to the most essential elements: image and text. Each issue consists of one story divided into four parts and printed on postcards. ‘They are not photographs and they are not texts,’ The New Yorker says of Abe’s Penny‘s unique publishing style, ‘but a combination of both, tangible objects with a heft and significance of their own.’”
Abe’s Penny’s August 2012 edition features images from Jen Davis, whose decade spanning “Self Portraits” series was featured in reGeneration 2: Tomorrow’s Photographers Today, the second book in the esteemed series shining a spotlight on the next generation’s rising stars.
Africanis dog, Sneeuberg Pass, Murraysburg district, South Africa, 2/2/2009,Daniel Naud
“While on a road trip through South Africas Karoo region in 2006, Daniel Naud encountered a feral dog foaming at the mouth and wearing an intent gaze. This run-in motivated Naud to begin his series of photographs on the Africanis, wild dogs thought to have migrated from Egypt and now inhabiting the South African countryside.”
Jonathan Torgovnik won the Rencontres d’Arles Discovery prize for Intended Consequences—his portraits of women and their children who were born of rape in the Rwandan genocide—which was published by Aperture in 2009. Watch an excerpt of a panel discussion with Torgovnik, and read an interview with the photographer on FLYP. Intended Consequences and limited-edition prints of Torgovnik’s work are available for up to 35% off as part of Aperture’s summer sale, until midnight EST, August 10, 2012.
Check out The Guardian for more coverage of the Rencontres d’Arles festival prizes.
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.”
Marco Breuer, otherwise known as the “photographer without a camera,” has built a strong reputation over the course of the last 20 years exploring lens-less “photogenic” art. While many photographers today are employing more and more complex technology in their work, the German conceptual artist and 2006 Guggenheim fellow says his is an “ongoing attempt to strip down the photographic process, to remove the distractions of equipment, and to force imagery out of photographic paper itself.”
His latest solo exhibition Condition(on view at Von Lintel Gallery through June 23, 2012) presents work he made in and out of the darkroom, stressing photographic paper by exposing it to heat, light, and physical abrasion with “coal, sandpaper, heat guns, burning swaths of cotton, electric frying pans, and other unexpected objects,” as one interviewer catalogues.
Ranging from small photographic sketches, to larger 30 by 40-inch prints, “every individual piece constitutes a search, a move away from the given, a test of the materials’ limits,” the press release states. He fuses image and medium, “rendering them inseparable, one and the same.”
Read John Yau’s review of Breuer’s solo exhibition on HyperAllergic. View installation shots and photos from the opening reception on May 10, 2012 on the Von Lintel Gallery blog. And read interviews with the artist about his work on ARTLOG and on MPR.
The Alice Austen House, a fantastic and under-acknowledged resource for photography in New York City, is an exhibition space and museum dedicated to the ground-breaking, absolutely independent and unique photographer Alice Austen (1866-1952). One of America’s earliest and most prolific female photographers, Alice Austen broke away from the constraints of the Victorian era to create her own independent life.
Through June 14, 2012 the Alice Austen House Museum is pleased to present Foreclosed: Documents from the American Housing Crisis. The exhibition includes works by: Bruce Gilden, Lauren Greenfield, Todd Hido, Imara Moore, John Moore, John Francis Peters, T.J. Proechel, Brian Shumway, Brian Ulrich and Guillaume Zuili, examining how artists are using photography to record the aftermath of the housing bubble; from its’ beginning in 2006 to the dramatic effects it still has on the American Landscape today. The artists and photographers in the exhibition depict the ruins of rich and poor neighborhoods, as well as the families affected by the economic downturn. As a result, the exhibition aims to explore the disintegration of the American dream and how it effects a culture where home ownership is no longer a reality.
“Showcasing new artists alongside historical material, artMRKT will create an ideal context for the discovery, discussion and placement of artwork.”
The San Francisco iteration of artMRKT marks the start of the brand’s 2012 modern and contemporary fair season. Currently in it’s second year, the San Francisco fair will combine the work of seventy leading galleries with a thoughtful program of art events and exhibitions at the fair venue and throughout the city. Aperture will be on site in 2012 with limited-edition prints, books, and the latest from Aperture magazine in tow, including our latest prints “Model Dining Room,” from the series Occupied Territory by Lynne Cohen, and “Animal (127)” by Elliot Ross.
The 2012 re-issue of Lynne Cohen’s first monograph, Occupied Territory, is also forthcoming from Aperture, “an exploration of domestic and institutional interior spaces—sometimes idealized, sometimes standardized, humorous, and disquieting.” “Model Dining Room” is a piece of this larger puzzle, representing Cohen’s visual exploration of interior space as simulated experience.
We also recommend joining acclaimed artist Richard Misrach, whose lauded Golden Gate is being reissued in a new oversized edition for the iconic bridge’s 75th anniversary, for the weekend’s keynote address plus a book signing on Saturday, May 19th.