Tag Archives: Mark Klett

Eduardo L. Rivera, Luis

Eduardo L. Rivera, Luis

Eduardo L. Rivera

Luis,
Phoenix, Arizona, 2011
Website – EduardoLRivera.com

Eduardo L. Rivera is a photo-based artist working in Phoenix, Arizona. He received his BFA in Photography from Arizona State University where he worked along side Guggenheim fellows Betsy Schneider and Mark Klett. Eduardo’s work is in personal collections and has been displayed in various galleries within the southwest region including a partner space with The Etherton Gallery in Tucson, Arizona and the Marion Center for Photographic Arts in Santa Fe, New Mexico. His 131 and Third Avenue Market  series have earned him travel grants to the 2011 and 2012 Society for Photographic Education national conference and also to Rio De Janeiro, Brazil from the Ted Decker Catalyst Fund. He lives in Tempe, Arizona and splits his time photographing and working at the ASU Art Museum. 

Medium Festival: Claire Warden

Several weeks ago, I had the great pleasure of attending the inaugural year of the Medium Festival of Photography in San Diego, CA, conceived by the very capable Scott B. Davis.  It was a three day event kicked off by a keynote lecture by Alec Soth, and continued on with workshops, artist lectures and portfolio reviews.  Most importantly, it was an opportunity to connect with a wonderful community of photographers.  Over the next week (and into the next), I will be featuring a few of the photographers who attended the festival.

Claire A. Warden, a photo-based artist working in Los Angeles, California, brought a terrific project about preserving the natural world, titled Salt: Studies in Preservation and Manipulation. The project includes methodically captured images of plant life preserved in salt, but when exhibited, also includes some of that flora and fauna under bell jars and on the wall.  The fragile quality of the salt is reminiscent of snow and only adds to the delicate nature of the object and the approach to her image making. The images are timeless and exquisite.
Claire received her BFA in Photography and BA in Art History from Arizona State University where she worked along side Guggenheim fellow Mark Klett and former Eastman House curator, Bill Jenkins. She now works in Los Angeles as a fine art photographer and photographing and working at the Getty Research Institute. Claire’s work is in personal collections and has been displayed in galleries nationally and internationally, including Rayko Photo Center in San Francisco, CA, the Center for Fine Art Photography in Fort Collins, CO and the Center for Photography at Madison, WI with upcoming shows at Soho Photo in New York, NY and Agripas 12 Gallery in Jerusalem, Israel. Her SALT series has earned her the Ted Decker Catalyst Artist Grant. 
Salt: Studies in Preservation and Manipulation: Despite the best efforts of science, authentic preservation of living matter is an impossible act. It is an ideal that stands in tension with the transient ephemerality that qualifies life. And yet – or perhaps because of it – this tension makes the humble ambitions of the botanical sciences intriguing. In order to preserve and document specimens for future study, scientists must ‘fix’ the organic complexity of the botanical specimen through human intervention.  

It is a process that, ultimately, restructures the essence of the specimen. In this way, botanical life can only endure as a specimen in a liminal state, the extended occupation of a pause between natural growth and decomposition. It is in this otherwise invisible moment, one reachable only through the intervention of the preservative act, that I find a deep and uncanny beauty. 

I emphasize the manipulation that manifests from preservation through the use of salt. This paradoxical mineral, that is necessary to sustain life—yet, if the delicate balance is outweighed, can extinguish it—reflects the structure of a preserved specimen and acts to preserve it. I submerge each living plant in a bath of salt water and allow the salt to crystallize on and within the living form.

Inspired by the intentions of botanical illustrations as a method to understand and control one’s environment, I seek to impress the human urge to order nature and in the process fundamentally change it. Using the platinum-palladium photographic process for its chemical stability and long-lasting image, these direct contact prints complicate the ideal of preservation, albeit, at the expense of the most authentic act of living matter, decay.

Critical Mass: Michael Marten

Looking at portfolios from Critical Mass 2011…

Born in London, Michael Marten has been working for the past eight years on Sea Change, a study of the tides around the coast of Britain. The views in each diptych are taken from identical positions at low tide and high tide, usually 6 or 18 hours apart. He comes to this work with an interest in science and medicine. In fact, he started a stock agency, the Science Photo Library, that concentrated on science and medicine imagery. He also has been the picture editor and co-author of several books of scientific imagery.

I am interested in showing how landscape changes over time through natural processes and cycles. The camera that observes low and high tide side by side enables us to observe simultaneously two moments in time, two states of nature. Recent landscape photography has often focused on human shaping (and reshaping) of the environment – agriculture, urbanisation, globalisation, pollution. Even when this approach is critical and committed, it also serves to emphasise, even glamorise, humankind’s power over nature. I’m interested in rediscovering nature’s own powers: the elemental forces and processes that underlie and shape the planet.

The tides are one of these great natural cycles. I hope these photographs will stimulate people’s awareness of natural change, of landscape as dynamic process rather than static image. Attending to earth’s rhythms can help us to reconnect with the fundamentals of our planet, which we ignore at our peril. ‘Sea Change’ also comments on climate change. The tide floods in and quickly recedes again, but rising sea levels will flood our shores and not recede for thousands or millions of years. Many of the views in these pictures may have disappeared in 100 years’ time.

‘Sea Change’ is an example of ‘comparative photography’, where two or more images show development in time (or other dimensions). The ‘rephotography’ of Mark Klett, and Nicholas Nixon’s portraits of the Brown sisters, are well-known examples.