Viktoria Sorochinski is a Ukrainian-born artist who has lived and studied in Russia, Israel, and Canada prior to settling in New York City, where she acquired her Masters of Fine Arts in 2008. Since 2001 she has participated in various group and solo exhibitions and international photography festivals in Canada, USA, France, Italy, Russia, China, Georgia and Argentina. She is also a finalist and winner of several international photography competitions and awards including Lucie Award – IPA (Discovery of the Year), Magenta Foundation's Flash Forward, PDN Photo Annual, Voices Off Arles, ONWARD, Review Santa Fe, Descubrimientos PHE, BluePrint Fellowship, and Encuentros Abiertos. Her work is widely published in internationally acclaimed magazines, among which are British Journal of Photography, EYEMAZING, NY Times, PDN, GUP, Le Monde, BLINK Magazine, THE PHOTO/ARTVAS, Planeando Sobre BUE, AZART Photo, and many others, as well as in web portals worldwide.
of Visual Arts. After returning from living and working in Europe, Marc began traveling the
country, concentrating on photographing and documenting American culture. It
was through these travels that Marc began his book project, Nevada Rose which captures the places and personalities of Nevada’s legal brothels.
His work has been seen in the New York Times, Interview,
Time, Stern, D Magazine, The Observer, Inc., Exit, Fortune Small Business, Marie
Claire South Africa and many others. Marc was a recipient of the Magenta Art
Foundation’s 2006 “Flash Forward” award was nominated for the
2009 NY Photo Awards and was an official selection for the 2011 and 2009 Lucie
Awards. Nevada Rose was published by Umbrage Editions in May 2011. On October 4th, Marc will be presenting an illustrated lecture (and book signing) at the Observatory in Brooklyn, NY.
Nevada Rose:PScattered throughout the state of Nevada, tiny desert towns like Pahrump, Ely and Scotty’s Junction are home to the country’s only legal brothels. Legalized prostitution is vitally important to the economic survival of the many counties and towns where they reside. It’s because of this interdependence and tolerance that the Nevada brothels are so deeply rooted in the history and settlement of the American West.
Photographed over the past 5 years, Nevada Rose rolls back the curtain to reveal not just the brothel interiors, but it’s varied cast of characters – the women, the owners, the various workers and even the customers. My goal with the work has been to document the industry as honestly and objectively as I can, neither glorifying nor demonizing the sitters. In the spirit of August Sander and of Bellocq’s images from the Storyville brothels, Nevada Rose is a cultural survey and the only complete photographic document of a slowly fading chapter in American history.
While I am enjoying the Focus Awards hosted by the Griffin Museum and the Flash Forward Festival hosted by the Magenta Foundation in Boston this week, I featuring Boston photographers, today with Asia Kepka.
I love Asia Kepka’s work, but also her person. David Hilliard took this amazing photograph of her:
In Asia’s words:
Working as a photographer I feel like a dog with it’s head out of the window of a car on the way to the park. This project is even more exciting. It became my visual diary- place where I record my dreams, my past, my everyday life .
My hope was to create a fairy tale that is timeless, independent of place, hermetically sealed from the outside world. This cathartic process has allowed me to explore issues of my identity as a woman and as an immigrant. Quite often images of me are reflection of my Mother and Grandmother back in Poland.
“I feel like i’m watching Fellini’s movie” -said an onlooker at the site of Bridget and I in a hotel pool in Arizona. At times dragging mannequin in public places draws quite an attention and “being in a moment” is a challenge but seeing reactions of bystanders is always positive and at times priceless.
All images are self portraits taken with 4×5 camera. The only exception are water shots.
Los Angeles photographer, Noelle Swan Gilbert, comes to photography after a career as a music executive, though she has had her hands on a camera since she was a child. She has diverse bodies of work which use a variety of cameras, and brings her thoughtful imagery to each approach. After experiencing the murder of her sister, and creating an insightful body of work about the after effects of such a tragedy, Life After Death, Noelle has turned her lens onto her own family to remember the essence of insignificant moments that reflect that, Right Now, This Is The Way It Is. This body of work was nominated for the Santa Fe Prize, and Noelle will be attending Review Santa Fe in June.
Noelle has exhibited her work in galleries across the country and internationally, and has been featured in numerous publications including F Stop Magazine, Fraction, Lenscratch, Lightleaks, The NY Times, and Blur Magazine. Noelle had a solo exhibition at the Lishui Photography Festival in China this past fall and was a Critical Mass Finalist in 2010.
Right Now, This Is The Way It Is: I can’t remember a time when I didn’t photograph the world around me. My first forays with a camera were exlporing my neighbor’s private garden. It was the most lovely tranquil French rose garden–a sea of blush, ivory and fuchsia discretely concealed behind looming stone walls, all the roses neatly boxed in and lined up, with perfectly manicured walkways of soft grey pebbles. As I walked along the paths wearing hard soled saddle shoes, every crunch, crunch, crunch that might have gone unnoticed in the outside world was the only thing audible in the stillness of the garden. I went each afternoon to photograph flowers and to escape the monotony of my boxed in teenage life next door, and in the process I learned to see in black and white and to dream in color. I still have those creamy black and white images of his perfect roses and they remind me of a time so sweet and innocent, when I was filled with curiosity and an insatiable need to explore the world beyond my sheltered life whose doors were just opening up to me.
Years later, a lifetime away from those quiet afternoons in my neighbor’s magical rose garden, I am now the mother of two teenage girls, and much like own their mother, they are contemplative and curious. With each year, time seems to accelerate at lightening speed, as if gathering momentum to catapult them out of the house long before I am ready to live without them. Even though they are content in place right now, they too feel the magnetic pull to move out of the box of childhood. As the future encroaches into their present, they hear life whispering, tempting them to grow up, right now.
This series documents the world that my daughters, their cousins, and their friends inhabit. I want to capture it before it is gone because it’s a world where black and white dreams turn into color and it only happens once. This is the world we know, and right now, this is the way it is.
After I discovered Misha Friedman’s photographs on The Forward Thinking Museum’s website, I began to see his name everywhere. Misha is the FTM’s winner of their first quarter 2011 photography contest, as the JGS Annual Artist and recipient of a $15,000 award. His series, Donbass Romanticism, was singled out for its unflinching look at coal mines and abandoned factories and their effects on the health of the residents of Donetsk Oblast, a heavily industrialized region in eastern Ukraine.
Misha’s series, Tuberculosis in the former Soviet Union, appeared on the NY Times Lens blog last week. Some of his awards and grants include Picture of the Year Int’l (POYi), PDN 30, Photolucida Critical Mass Top 50, and Magenta Flash Forward. Born in Moldova, Misha now lives in New York City, but continues to make work in Eastern Europe.
Donbass Romanticism: In the second half of the 18th century romantics revolted against the Industrial revolution in Europe – against rationalization of nature, against social and political norms. In art, a viewer once again was allowed to use his emotions and imagination. Inspired by German and French Romanticism, this ongoing project from Ukraine is my attempt to show how Nature and Man have learned to live within the industrial complex.
Following the collapse of the Soviet Union, much of Eastern Ukraine ended up ruined – many mines and massive factories are lying abandoned, people are unemployed or earn just enough to survive – abandoned by the government – and nature is taking over in full force. For decades this land was a symbol of Soviet Rationalism and victory over Nature, but it did not take long for all of that to crumble, leaving behind ruined lives.
I recently received this e-mail from my friend Tom M. Johnson:
If you happen to find yourself in Paris next month I invite you to My Private Art Room in the Marais for a glass of champagne. I am having a solo show where I will be exhibiting work from both “Lakewood: Portraits of a Sacred American Suburb” and “Au Bout de la Ligne (At the End of the Line).” As written on the invitation, it is truly a photographic journey into contemporary suburban life. Besides, Paris is beautiful in October.
All I can say is, “Wow, I wish I could”. Tom is no stranger to Paris, having worked in the city of lights in his earlier incarnation as a model, but he already had a camera in hand and created a terrific project on what he found at the end of the Paris metro lines…all 29 of them. When he returned to the states, and to his hometown of Lakewood, CA, he began to see small town life in a new way, and has captured it brilliantly through portraiture and place. It was recently featured on the NY Times Lens blog.
His exhibit of these two bodies of work opens at My Private Art Room in Paris on October 13th and runs through October 30th.
Au bout de la ligne
It was living in Paris in the eighties that inspired me to become a photographer, however, it wasn’t until I returned twenty years later that I was roused to photograph the city that had taught me so much about life and art. Yet, I wanted to avoid taking just another of the tens of thousands of photographs that had already been taken of Paris. I mulled over this for weeks, trying to conceptualize a new technique or method of approach to the project, until one early morning, after a long dinner party sitting on a train in the direction of La Defense, the northwest terminus of line number 1, the inspiration emerged. I had ridden the metro throughout Paris, yet I had always traveled in the direction of, but never to, Au Bout de la Ligne. I asked myself–What type of Paris exists at the end of each line? Do the lines end in the suburbs (banlieue)? Are the people who live in the banlieue dissimilar to those who live in the center of Paris? I took the metro to all 29 ends of the 14 metro lines in search of provocative moments, visuals, portraits, and answers to my questions.
Lakewood: A Photographic Journal of a Sacred American Suburb: I search for provocative portraits and relics of Lakewood’s middle class. I come upon kids riding their bikes whose parents are watchful of strangers but not threatened by them, women tending their yards, and men tinkering inside their garages. I interact with these folks, many whom I share similar concerns and interests. They question why I am taking pictures or if I work for a newspaper. When I tell them my pursuit is only artistic many shake their heads. But for every one who is uncomfortable with my presence, there are those who welcome me to photograph them and their front yards.
I featured Tim Hyde’s terrific series, Repossession, a couple of years ago, and I recently found myself wanting to revisit his site and see what he’s been up to. Tim has continued with this project looking at natural disasters–floods, hurricanes, earthquakes–with an interesting perspective. It’s a perspective that the reaction of Mother Nature, in what could be a response to our mistreatment of our planet, is to reclaim and take back what was hers, and that mass destruction is part of the cycle of life. Since I last looked at his work, he has visited Haiti, Japan, and many more states where natural disasters have occurred.
Tim was raised in the Midwest, has lived in Oregon, Texas, Delaware, North Carolina, and in Washington, DC, for many years. He careers include tours of duty as a logger, teacher, free-lance writer, filmmaker, legilative aide, political hack, corporate executive, and public-affairs consultant. And, he makes pictures. His work has been featured in Fraction Magazine, featured on the NY Times LENS blog, and he continues to exhibit around the U.S.
Repossession: From the beginning, from our earliest tribal memories, there was a struggle between man and nature. This battle is the wellspring of myth and legend and our most fundamental rituals. Each society, each generation, addresses it anew. Sometimes man is placed at the periphery of this cosmic struggle, like Greek mortals, and sometimes man is central. But these foundational discussions are always more about man than nature, about how we organize ourselves and how we view the universe.
Today, in the West, many believe humans are finally winning the conflct and will soon conquer the planet; they use words such as rape and pillage, metaphors of route. These assertions are just another form of human arrogance.
It is self-evident that nature will prevail in the end. Events such as floods and earthquakes are dramatic demonstrations of the planet’s redemptive powers. Mother earth—nature—is relentless. She is patient, but in the end she cleanses herself of man’s works, utterly, without pity or remorse.
And yet, nature does so with whimsy sometimes. She rearranges in colorful and symmetrical patterns. There is a certain sad but also uplifting beauty in these catastrophes and erosions, the spectacle of reclamation. That is what I am trying to capture.
These photographs are part of an ongoing project on nature’s preeminence. These photographs were taken between 2008 and 2011 in eastern Iowa, Louisiana, Texas, North Dakota, Italy, Haiti, Iceland, and Japan.
Canadian developer Phillip Mendona-Vieira ran an automated script that captured a screenshot of the NY Times’ front page twice an hour, 24 hours a day, for a year. He compiled more than 12,000 images to create this 6-minute hyper-scan of a year’s worth of headlines, photos and … advertising. The visual competition for the readers’ attention is what I found most captivating, plus how the lead photo tends to dominate the news mood for that moment.