Tag Archives: Nothingness

Paul Graham Wins 2012 Hasselblad Award

A1-29 (A1-The Great North Road), 1982, © Paul Graham

Photographer Paul Graham has been named the 2012 recipient of the Hasselblad Award, the first British photographer to win the prominent international prize.

Graham, hailing from Buckinghamshire, is a pioneer of color documentary photography in 1980’s Britain, influencing successive generations of young photographers. Self-taught, he grew up studying the works of American pioneers, Walker Evans, Robert Frank, and Paul Strand. A-1 The Great Road North, a color series shot along the British motorway and Beyond Caring, a string of photographs shot in unemployment offices, were projects that brought Graham to critical and international acclaim in the early 80’s.

More recently, Graham’s work has become purposely abstruse as he challenges preconceived notions of the ‘style’ of documentary photography. The most exaggerated example is American Night. The series, shot in 2003, explores social and racial issues of the United States through over-exposed images that appear almost invisible. “The photography I most respect pulls something out of the ether of nothingness,” Graham states. American Night is featured in Graham’s body of work that is a part of the exhibition trilogy, The Present, now being exhibited at the Pace/MacGill gallery in New York City.

With the acceptance of this award, Graham joins the ranks of noted past winners and Aperture published photographers, Robert Adams, William Eggleston, and Nan Goldin.

Graham discusses his career and fresh photography in Aperture issue 199.

Aline Smithson: Converging Conversations

Sharing a work-in-progress series titled, Converging Conversations. I tend to make work that tells stories, but I have been also shooting images that are non-specific, more about color or gesture or emotion–I have been thinking about those moments when you are lost in thought, yet not really thinking about anything…

Converging Conversations is a series about juxtaposing unrelated images in order to create a new conversation or narrative. It is a conversation that is a convergence of ideas and associations, open to personal interpretation. The result is something completely separate from the original intent of the image making.

My initial focus in creating many of these photographs was to capture a sense of disconnectedness, a sense of day dreaming, and in some cases, a sense of nothingness–images that capture moments or gestures, moving back and forth between a place that is tangible and a place on the periphery of my memory and experience. By combining these images, a new narrative begins and the photographs become animated in conversation.

Walker Pickering: Nearly West

Walker Pickering is about to open an exhibition of a project that he has been working on for close to three years. Nearly West will open at the B. Hollyman Gallery in Austin on May 3rd and run through June 1st. The opening reception is on May 7th.

I first featured Walker’s work on LENSCRATCH last year, where I wrote: Walker’s new series, Nearly West, reflects a visual resonance through color, design, and pacing. There is a stillness, yet a symphony in his work, where the sounds of water, crickets, wind, and nothingness wash away brilliant colors, leaving the traces of his visual memories.

This series is inspired by the open road and the temporary relation it provides. Walker captures rural roads, urban and natural landscapes, and traces of the people who live there in a way that transcends the banality of these everyday markers. The images are distinct in mood, each with a balancing peacefulness.

Walker received his MFA in photography from Savannah College of Art and Design, and currently teaches photography at the Art Institute of Austin. He has participated in a number of solo and group exhibitions, and has been a photographer for the Texas House of Representatives, as well as darkroom printer for photographer and screenwriter, Bill Wittliff.

Images from Nearly West