Tag Archives: Notions

Photo Show – City of Home by Alina Kisina on show at Light House Media Centre in Wolverhampton

City of Home 57

City of Home, © Alina Kisina

Last year I posted on Ukrainian photographer Alina Kisina‘s show City of Home and am delighted to report that her latest work from the series is on show at the Light House Media Centre, Wolverhampton until 25 January 2013.  The exhibition includes new work specially commissioned by Light House.

And if you’re still thinking about Christmas presents, there is a special edition of three of her latest works available, including the two images posted here, for sale during the holiday season. Only 50 of each print will be produced and each will be numbered, signed by the photographer, and have a certificate of authenticity. Each unframed A4 print costs £75 + £7.50 p&p. A set of all three images can be bought for £200 + £12.50 p&p and includes an archival box and a set of gloves.

City of Home 60

City of Home, © Alina Kisina

Professor Raoul Eschelman, author of Performatism, or the End of Postmodernism, writes about the work:
“Alina Kisina’s photographs of urban spaces in her native Kiev are not documentary pictures in the usual sense of the word. Rather, Kisina’s work mixes abstraction and representation to create evocative images that elude easy description or categorization. The most striking aspect of her art is its bold use of reflections. These juxtapose different levels of reality in a way that confounds our notions of up and down, in and out, fore and back. But her aim is not simply to confuse us. Rather, the overlapping planes of reality draw us dynamically into her photos to produce a sensation of depth suggesting another, more profound dimension beyond the mere givens of the picture.
“In many of the photographs in the Light House exhibit, this is done in a way that is best described as dramatic. Powerfully etched lines, curves, and forms draw us into a receding space marked by extreme glare or by patches of bright light that seem to dissolve material reality within them. The photos of this kind take the form of dramatic epiphanies—intuitive, overpowering insights into the nature of reality experienced through commonplace forms and scenes.”

There is also a great interview with Light House about her work. Finally, Coventry-born photographer, teacher and supporter of Kisina’s work, John Blakemore, spoke to her in a filmed interview that will be available shortly.

Filed under: Photo Talks, Podcasts, Women Photographers Tagged: Alina Kisina, City of Home, John Blakemore, Light House Media Centre, photo show, Professor Raoul Eschelman, Wolverhampton

Brighton Photo Fringe 2012 – Blind Field presents Origins of Encounter until 21 October

Blind Field are showing Origins of Encounter at the Phoenix Brighton until Sunday 21 October as part of the Brighton Fringe 2012. The artists involved are Joan Alexander, Luke AR Hamblin and Louise Maher, all of whom, according to the press release, “examine notions of the encounter in relation to place, narrative and the photograph”.

© Joan Alexander – Study V – Facing North Window – 60 Minutes

Joan Alexander
“Alexander’s work explores the margins of inscription and projection, the unacknowledged spectra between positive and negative. Alexander is interested in the ‘latent image’. A visual in waiting, from between times, like the line between shadow and light; the line, like a map, is always a metaphor. Alexander’s practice immerses the viewer within a passage of time through an encounter with the movement and interruption of light. Her projections create a space where the viewer must pass through lines of light drawing attention to their presence. The correlation between printed and projected material asks for a closer examination creating awareness to the tangible and intangible nature of her practice.”

© Luke AR Hamblin – A study of still life. Sunflowers

Luke AR Hamblin
“Hamblin is interested in the way in which photography enables us to dissect the world and pull it apart. For Hamblin making photographic pictures is about assembling a Cast of characters, analysing their poses, placing them in the picture frame. Hamblin has developed a complex process of picture-making, exploring the role of perception and portrayal in our engagement with ‘place’. His series Studies for a theory of the Epic Photograph encourages us to think about how simple aspects of pose and gesture can embody whole narrative worlds. Drawing on references from early twentieth century modes of portrayal: theatre, cinema and painting, Hamblin’s photographs offer the viewer undisclosed narratives to decipher and re-construct.”

© Louise Maher – Old Head, Kinsale 2006-2012

Louise Maher
“Maher’s practice concentrates upon the inextricable relationship we have to our environment. By focusing on everyday expressions of this connection, she explores perceptions of the encounter. Maher’s approach stems from an appreciation of the historical development of street photography, yet it is also influenced by a typological approach. She values the photograph’s capacity to simultaneously document and picture the world. Her photographic series’ unite aspects of spontaneity and formalization to create a visual language that presents the viewer with space to translate.” From the press release.

Filed under: Photographers, Photography Festivals, Photography Shows Tagged: Blind Field, brighton, Brighton Photo Fringe, Joan Alexander, Louise Maher, Luke AR Hamblin, Origins of Encounter, photo show

Andrew Jackson, Couple on sofa

Andrew Jackson, Couple on sofa

Andrew Jackson

Couple on sofa,
Handsworth, Birmingham, West Midlands, 2009
From the The Hidden Landscape series
Website – WrittenByLight.com

Andrew Jackson was born in Dudley in the West Midlands. He completed an MA in Documentary Photography at Newport (University of Wales) and has since embarked on both commissioned and personal works. These works have sought to examine our emotional responses both to the spaces that surround us but also to the emotional spaces that exist between ourselves and others. He has a specific interest in exploring notions of identity and representation and is currently examining, within From a Small Island, the legacy of post-war migration from the Caribbean to Britain. His work is held in both private and public collections and he was recently nominated for the Prix Pictet photography Prize

Daido Moriyama And the Cultural Landscape of Post-War Japan

Youth culture, through revolt, unabashedly asks us to question and confront our historical and cultural traditions. In post-war Japan, the explosion of the taiyozoku or sun tribe—a term for the youth sub-culture that emerged in the 1950s—was seen by the older, conservative generations as crude and violent. Flooded with new imagery from the West, there was a break in the connection to the past and thus a rejection of traditional values. Affected by the nouvelle vague Western youth and media, the taiyozoku were pictured as promiscuous and nihilistic, throwing their cares to the wind.

Arriving in Tokyo in 1961, Daido Moriyama began photographing the seedy streets of Shinjuku, a ward ravaged during the war. Although the Shinjuku of today is best known as the economic and commercial center of Tokyo, it still retains a revolutionary spirit that started in its post-war bars and red-light district. Moriyama’s high-contrast, gritty depictions capture the energy native to the neighborhood, creating a visual history of Tokyo’s youth throughout one of its most combustible phases in history. It is this power that shapes Moriyama’s work, creating an unfolding visual testament to the cultural landscape of post-war Japan.

A new exhibition pays tribute to Moriyama’s four decade relationship with Shinjuku, which serves as a photographic act of memory and desire. In Fracture: Daido Moriyama, opening at the Los Angeles County Museum of Art on April 7, these notions are explored through a selection of prints and books, as well as recent color work. Moriyama began his career in Tokyo assisting the photographer Eikoh Hosoe. Hosoe was a member of the influential artist collective VIVO, which served to capture the significant cultural and structural changes within Japanese society. In line with this method of working, Moriyama began to roam the streets of Shinjuku and, since the early 1960s, has been witness to the ever-changing and expanding post-WWII landscape—a fractured, strange world that oscillates between time and space, reality and fiction.

Fracture: Daido Moriyama is on view at the Los Angeles County Museum of Art from April 7 through July 31.

Emiliano Granado, Untitled

Emiliano Granado, Untitled

Emiliano Granado

Untitled,
Umpqua Hot Spring, Oregon, 2011
Website – EmilianoGranado.com

Emiliano Granado was born in La Plata, Argentina. His family moved to the United States when he was four years old to escape the political insecurity following The Dirty War of the late '70s. He graduated from Amherst College in 1999 and has studied at the International Center for Photography and School of Visual Arts. His interest in popular culture can be seen in his earlier work, At the Track and Beach Party, a study of motor racing culture and Spring Break debauchery and hyper-sexuality, respectively. His newest project, Time for Print, showcases the need for exhibition, reflects our notions of sexuality, and focuses on our relationship with The Internet. Emiliano lives in Brooklyn, New York. He likes bikes, sunglasses, and Mexican Coke.

Sarah W. Newman, Untitled

Sarah W. Newman, Untitled

Sarah W. Newman

Untitled,
Crested Butte, Colorado, 2011
From the Through Place series
Website – SarahNewmanPhotography.com

Sarah Newman was born in Miami, Florida, and began making black and white photographs at the age of seven. She has a BA in Philosophy from Washington University in St. Louis, and is currently completing her MFA at the Rochester Institute of Technology. Sarah’s photographic explorations run alongside her more general explorations of the world and its diverse environments. Her thesis, Through Place, explores human marks in the landscape and the various (visual, linguistic, and philosophical) parameters that underlie our notions of “nature.” Sarah recently began a new body of work photographing green energy technologies, such as wind and solar power, and considering how these innovations are integrated (or not) in our social and urban landscapes. She plans to continue this project in Malmö, Sweden in 2012-2013.

Photographer #403: Chadwick Tyler

Chadwick Tyler, 1975, USA, is a fashion / fine-art photographer based in Brooklyn, New York. His work career started in art direction and corporate advertising. In 2005 he began focusing on photography, learning the basic technical competence under the guidance of still-life photographer Larry Wittek. In 2009 he had his first solo exhibition entilted Tiberius. The large exhibition was filled with beautiful female characters in black and white photographs. He played with the themes of ecstasy, hysteria, confusion, lethargy, exhaustion and more expressive emotions. He used 52 models to realise all the images for the show, often in strange positions and showing expressive faces. The result was a strong, refreshing, raw yet classy and brain triggering set of images that challenges contemporary notions of beauty. His photography has been featured in numerous magazines as Dazed and Confused, Grey and AnOther. The first two rows of images come from the portfolio VIII and the last row is Mercedes: Quantum Present.


Website: www.chadwicktyler.com

Photographer #377: Hein-Kuhn Oh

Hein-Kuhn Oh, 1963, South-Korea, received a B.A. from Brooks Institute of Photography in Santa Barbara and an M.F.A. at Ohio University in Athens, Ohio. His career started as a documentary photographer capturing the social landscapes on the streets. However in the last decade he concentrated on documenting specific groups of people that present a certain type of convention created by the Korean society. His series Ajumma contains a large selection of portraits that show middle-aged Korean women. In 2001 he started the Girl’s Act series which consists of images of high school girls photographed between 2001 and 2004 and a series called Cosmetic Girls that he worked on between 2005 and 2009. For Cosmetic Girls he portrayed girls wearing make-up that he met on the streets, intrigued by the duality in the Korean society of the ‘subject and object of desire’. The project deals with the common notions and stereotypes that are influenced by the entertainment media in Korean society. Hein-Kuhn has released four monographs and exhibited his work at a large number of venues around the globe. The following images come from the series Cosmetic Girls, Girl’s Act: Highschool Girls and Ajumma.

Website: www.heinkuhnoh.com