Tag Archives: Oakland Museum

Tabitha Soren, Running 005824

Tabitha Soren, Running 005824

Tabitha Soren

Running 005824,
, 2012
From the Running series
Website – TabithaSoren.com

Tabitha Soren was born into a military family and grew up all over the world. Snapshots were one of the few ways she had to remember the details that made up her life in the last town or base — so she took them incessantly and spent many afternoons cataloguing them. She headed to New York for college where she received a BA in Journalism and Politics at New York University. After a career in television news shooting 30 frames a second, Soren decided she wanted to concentrate on one frame at a time and spent a year studying photography at Stanford University. Over the past ten years, her projects have been published in The New York Times Magazine, Canteen, Vanity Fair and New York, among others. Soren's work speaks to the twists of fate in life that can unhinge us. Her pictures address what havoc human beings can survive — and what they can't. Public collections include the Oakland Museum of Art, in California, the New Orleans Museum of Art as well as the Ogden Museum of Southern Art, both in Louisiana. Her Running series debuted at the Museum of Contemporary Art in Indianapolis this summer.

Tabitha Soren, Running 004907

Tabitha Soren, Running 004907

Tabitha Soren

Running 004907,
, 2012
From the Running series
Website – TabithaSoren.com

Tabitha Soren was born into a military family and grew up all over the world. Snapshots were one of the few ways she had to remember the details that made up her life in the last town or base — so she took them incessantly and spent many afternoons cataloguing them. She headed to New York for college where she received a BA in Journalism and Politics at New York University. After a career in television news shooting 30 frames a second, Soren decided she wanted to concentrate on one frame at a time and spent a year studying photography at Stanford University. Over the past ten years, her projects have been published in The New York Times Magazine, Canteen, Vanity Fair and New York, among others. Soren's work speaks to the twists of fate in life that can unhinge us. Her pictures address what havoc human beings can survive — and what they can't. Public collections include the Oakland Museum of Art, in California, the New Orleans Museum of Art as well as the Ogden Museum of Southern Art, both in Louisiana. Her Running series debuted at the Museum of Contemporary Art in Indianapolis this summer.

The 1991 Oakland-Berkeley Fire Revisited

One week after a deadly wildfire killed 25 people and destroyed more than 3,000 homes in Oakland and Berkeley, California in 1991, photographer Richard Misrach photographed the aftermath. “There were no police barricades, and people hadn’t really returned,” he says. “It was just completely devastated, very much like a post-apocalyptic movie.”

Misrach decided early on not to show the work, but on the 20th anniversary of the fire, the photographer is finally unveiling his images in a new book published by Blind Spot, which coincides with twin exhibitions at the Berkeley Art Museum and Oakland Museum of California Art, on view through Feb. 5 and Feb. 12, respectively.

“There was so much coverage, it was almost like a media spectacle,” Misrach says of his decision not to publish the pictures right away. “It seemed like the work might get lost, and I wasn’t interested in the news component. I was much more interested in the history.” Misrach mocked up a few photographs into a book maquette shortly after the fire, but he hadn’t really looked at the series as whole until preparing them for his exhibitions. Citing Civil War photographs as a precedent, Misrach says he wanted to allow his images to serve as historical documents, shifting in meaning with time. “The pictures are not of flames. They’re not of not of people fleeing,” he says. “They’re more quiet, meditative and reflective of our relationship with landscape.”

Richard Misrach’s work is in the collections of over fifty major institutions, including the Museum of Modern Art, the Whitney Museum of American Art and the Metropolitan Museum of Art. He is represented by Fraenkel Gallery.

1991–The Oakland-Berkeley Fire Aftermath is published by Blind Spot. The accompanying exhibitions are on view at the Berkeley Museum of Art through Feb. 5 and at the Oakland Museum of California from Oct. 15-Feb. 12.

Feifei Sun is a reporter at TIME. Find her on Twitter at @Feifei_Sun or on Facebook. You can also continue the discussion on TIME’s Facebook page and on Twitter at @TIME.

The 1991 Oakland-Berkeley Fire Revisited

One week after a deadly wildfire killed 25 people and destroyed more than 3,000 homes in Oakland and Berkeley, California in 1991, photographer Richard Misrach photographed the aftermath. “There were no police barricades, and people hadn’t really returned,” he says. “It was just completely devastated, very much like a post-apocalyptic movie.”

Misrach decided early on not to show the work, but on the 20th anniversary of the fire, the photographer is finally unveiling his images in a new book published by Blind Spot, which coincides with twin exhibitions at the Berkeley Art Museum and Oakland Museum of California Art, on view through Feb. 5 and Feb. 12, respectively.

“There was so much coverage, it was almost like a media spectacle,” Misrach says of his decision not to publish the pictures right away. “It seemed like the work might get lost, and I wasn’t interested in the news component. I was much more interested in the history.” Misrach mocked up a few photographs into a book maquette shortly after the fire, but he hadn’t really looked at the series as whole until preparing them for his exhibitions. Citing Civil War photographs as a precedent, Misrach says he wanted to allow his images to serve as historical documents, shifting in meaning with time. “The pictures are not of flames. They’re not of not of people fleeing,” he says. “They’re more quiet, meditative and reflective of our relationship with landscape.”

Richard Misrach’s work is in the collections of over fifty major institutions, including the Museum of Modern Art, the Whitney Museum of American Art and the Metropolitan Museum of Art. He is represented by Fraenkel Gallery.

1991–The Oakland-Berkeley Fire Aftermath is published by Blind Spot. The accompanying exhibitions are on view at the Berkeley Museum of Art through Feb. 5 and at the Oakland Museum of California from Oct. 15-Feb. 12.

Feifei Sun is a reporter at TIME. Find her on Twitter at @Feifei_Sun or on Facebook. You can also continue the discussion on TIME’s Facebook page and on Twitter at @TIME.

Sandi Haber Fifield

I had the great pleasure of meeting Sandi Haber Fifield when she was visiting Los Angeles a few months ago. She shared with me her new book, Between Planting and Picking, published by Charta this year, and another lovely monograph, Walking through the World, also published by Charta in 2009. Sandi looks at the world in an organic and gestural way. Her new series, Between Planting and Picking, reveals the essence of farm life that is contemporary, yet timeless. Through her images of various farms, we can hear the whine of summer insects, smell the grasses and the harvest, hear the snap of the clothes left to dry on the line, and witness the details of a life grounded in the earth.

Planting trays and vines, 2009

Sandi lives in New York and has been making photographs since she received her MFA from Rochester Institute of Technology. Her photographs have been widely exhibited and included in exhibitions at The Art Institute of Chicago, The DeCordova Museum, The Museum of American Art, Museum of Contemporary Photography, The Museum of Modern Art, The Oakland Museum, The Southeast Museum of Photography, and The St. Louis Art Museum.

Sandi also recently opened an exhibition at KMR Arts in Washington, CT, titled Earth /Clay, with photographs from Between Planting and Picking coupled with terra cotta sculpture by Frances Palmer. Rick Wester Fine Art in NYC will be taking her work to Pulse LA (September 30-October 3rd) and Pulse Miami, (December 1-4th).

Blue Sky and Jackets will be shown at the Rick Wester Fine Art booth at Pulse LA

Between Planting and Picking explores the quiet moments and unexpected beauty that reveal the simple life of a small farm. Inspired by the rapid ascendency of the local food movement and the knowledge that the industrial food pipeline is not necessarily the best way to feed ourselves, I spent two seasons photographing small farms, many of which have been owned and cared for by families, some for generations. Although I was not on a search to document farming per se, the farms allowed me to balance the geographic with the geometric and they gave me a place for exploration within the unending cycle of growth and harvest.

All images courtesy Rick Wester Fine Art

Beginning in Northern California at Green Gulch Farm and Zen Center, where farming is part of the Zen practice, to Beetlebung Farm in Chilmark, MA; from the orchards along the Mississippi River in Brussels, IL, to the grapes grown on Guy Beardsley’s eco-garden in Shelton, CT, I chronicled many places that, although far-flung, share a tangible spirit that is communicated in the most ordinary of details. There is a lot of sublime “waiting” in this project. I’ve purposefully looked at the seemingly mundane things we take for granted—all the better to convey the hard work that goes into nature’s bounty. I’m drawn to the authenticity of small farm life that congregates along the margins in myriad cast-off moments: sunlight on muslin seed bags, wooden crates, plastic mesh, buckets, pots, hoses, a lunar planting calendar, quirky signage. As I made more and more pictures, the candid beauty and improvised quality I discovered in the unkempt edges of these small farm environments became a focus. I hope it is within the banal details, unsuspecting and unnoticed, that a narrative unfolds, showing the beauty in the randomness and the re-purposing. To me, there is a metaphor in the unending cycle of growth and harvest for my own image making.

These photographs also began a visual retreat from my previous (and ongoing) bodies of work which explore relationships between multiple image configurations. Compressing images into one frame at a time was a departure.