Tag Archives: Philadelphia Pa

Ana Galan

Spanish photographer, Ana Galan, has created a life affirming project, Viv(r)e la vie!, that looks at couples from around the world, particularly in Spain, Finland, and the United States.  Her portrait approach replicates the formula that first emerged in the 15th century in Italy and can be associated with the work of Jan Van Eyck, where figures are placed in an idealized landscape.

Ana  holds a degree in Economics, an International MBA and
an MFA in Photography from EFTI, Madrid, Spain. She has been finalist in many international competitions and has been exhibited in numerous
galleries, international photography festivals and exhibitions in France, Italy,
India, Spain, Finland and USA. She has completed a residency in Philadelphia,
PA and in Pirkanmaa in Finland. Her work is collected in CENTER in Santa Fe,
NM, in the Philadelphia Art Hotel, Philadelphia, PA and in The Center for Fine
Art Photography in Fort Collins, CO.

Images from Viv(r)e la vie!

Viv(r)e la vie!in process
 Viv(r)e la vie! is a photography series “in process”, consisting of
photographs of couples in profile with a landscape of a countryside in the
background, and pays homage to those people who continue to live “in the moment”.
concept depicts the two contrary principles, masculine and feminine, which are
found in an embrace as a symbol of the partnership, the unit and belonging. 

As well in its coniferous
landscapes, the series recreates the representation of the power of vital
force, of immortality.
Viv(r)e la vie! Is a photographic typology of couples
which meet in order to dance. I began the series Viv(r)e la Vie! in
Guadalajara, Spain, with the idea of putting together a set of series of 10
couples in different cities around the world.
Couples of a certain age, people
barely seen socially, but who have not stopped living life fully and whose
close relation is photographed in the outing dances of their area.

The photographs give visibility to people which, for a certain time,
have lacked such visibility. This series, at the same time, documents the
cultural diversity that exists between different cities and countries. The
objective of this project would be to form an extensive visual transcultural
inventory, almost as small histories of social and anthropological life of some
people that are reaching a mature age, but remain active.

The second series
of “Viv(r)e la Vie!” was developed in the American city of
Philadelphia in June 2011 thanks to an artist residency I was granted by the
Philadelphia Art Hotel and the third in June 2012 in Finland thanks to a
residency granted by the Arteles Creative Center. The fourth series of this
project will be produced in May 2013 in Iceland.

Review Santa Fe: Susannah Ray

Over the next month, I will be sharing the work of photographers who attended Review Santa Fe in June.  Review Santa Fe is the only juried review in the United States and invites 100 photographers to Santa Fe for a long weekend of reviews, insights, and connections.  

Surf culture is usually associated with the West Coast.  Our visions of the Beach Boys and Gidget inform our imaginations, as do sunny skies and palm trees, but photographer Susannah Ray sees surfing a little differently. Shot on the “right coast”, there is a intensity and unique perspective about surfing in the proximity of New York City, especially in the winter.

 Kui, February Swell, 2005

Susannah studied photography at Princeton University and received her MFA from the
School of Visual Arts. She
teaches at Hofstra University and exhibits widely, recently at Modified Arts (Phoenix, AZ), Bonni Benrubi Gallery (NY, NY), and
The Print Center (Philadelphia, PA). She was a Santa Fe Center Prize nominee in
2011 and a finalist for the CDS/Honickman First Book Prize in 2011 and 2009.
Susannah lives in Rockaway Beach, NY with her husband, daughter, and 3 cats.
 Snowman, 2009

Right Coast: In fall of 2004, following my growing obsession with maritime
weather models, cold-water wax, and 7mm neoprene mittens, I began documenting
surfing in New York City. My life as I knew it had succumbed to my constant
urge to surf, and it became clear to me that my photography would suffer from
neglect if I did not begin to document the new passion that occupied most of my
waking thoughts and many of my dreaming ones.
 Red Board (Alex K.), 2008

The project title, Right Coast, is a nickname for the East coast that not only indicates its location on the continental US, but also asserts an underdog’s dreams of superiority. Surfing on the right coast, particularly in New York City, lacks most of the lifestyle and allure of West coast surfing. Yet making up for the dearth of good weather, consistent waves, and beautiful surf spots is a community that has a surfeit of heart, dedication, and soul. Or in a word, aloha.
 50-50 Hansen, 2008

In addition to landscapes that reveal the rigor and drama of winter surfing, I include portraits and still lifes that reveal the intimacy and intensity of the life carved out on New York City’s stretch of Atlantic Ocean. The familiar icons of surfing–heroic men with surfboards, barrel-shaped waves, and bikini-clad women–play against the gray skies, snow covered beaches, and grafittied environs. 
 The NSSS (Not So Secret Spot), 2004

All photographs of Right Coast are 20”x24” type c-prints, editions of 7

 Red Rocket, 2006

 The Flea Bungalow, Winter 2005, 2005

 Lei, 2006
 Kristi Convalescing, 2005

 Sleeping Single Fins at the Big House, 2005

  Session’s End, 2006

  The Last Clark Blank, 2007

 Shadow Surfer 3, 2008
 Mollusk Movie Night, 2009

Twilight, 2006

Amy Lombard, Grandma June

Amy Lombard, Grandma June

Amy Lombard

Grandma June,
, 2010
From the My Life With Animals series
Website – AmyLombard.com

Amy Lombard was born and raised just outside of Philadelphia, PA. In 2008, she moved to New York to pursue her BFA in Photography from the Fashion Institute of Technology. She currently lives and works in Brooklyn, and is exhibiting work internationally.

Displaced: The Cambodian Diaspora

As a son of the Killing Fields born in 1982 in the refugee camp to which my family had fled following the Cambodian genocide, I have struggled for most of my life to understand the legacy of my people. Over the last year, I engaged in a series of conversations with Cambodian-Americans about our history and the complexity of their experience while photographing community members in Philadelphia, Pa.; Lowell, Mass. and the Bronx, N.Y.

The Cambodian people are among the most heavily traumatized people in modern memory. They are the human aftermath of a cultural, political, and economic revolution by the Khmer Rouge that killed an estimated two million, nearly a third of the entire population, within a span of four years from 1975-1979. The entire backbone of society—educated professionals, artists, musicians and monks—were systematically executed in a brutal attempt to transform the entirety of Cambodian society to a classless rural collective of peasants. That tragedy casts a long shadow on the lives of Cambodians. It bleeds generationally, manifesting itself subtly within my own family in ways that I am only starting to fully comprehend as an adult. It is ingrained in the sorrow of my grandmother’s eyes; it is sown in the furrows of my parents’ faces. This is my inheritance; this is what it means to be Cambodian.

After surviving the Killing Fields, my family, along with hundreds of thousands of survivors, risked their lives trekking through the Khmer-Rouge-controlled jungle to reach a refugee camp in Thailand. There, my mother had what she believes to be a prophetic dream. In a field, an entire city’s worth of women were clawing with their bare hands in bloodstained dirt searching for an elusive diamond. To the disbelief of everyone in the dream, she serendipitously stumbled upon it wrapped in a blanket of dirt. The following day she discovered she was pregnant with me. The significance of this didn’t dawn on me until I started photographing this project. It was a vision of hope and renewal, that we as Cambodians are endowed with an incredible resilience and strength in human spirit. I have seen this in the faces of Cambodians I have photographed and have been incredibly humbled. In the words of my mother, it is a miracle to simply exist.

As a result of the unique demographic circumstances of the genocide, there has been a paucity of reflection within the Cambodian community. Many second-generation Cambodians I have interviewed learned about the Killing Fields through secondary sources, from the Internet and documentary films. Such conversations were non-existent at home. Exacerbating the silence is an inter-generational language barrier; most young Cambodian Americans cannot speak Khmer, the Cambodian language, while their parents and grandparents are incapable of speaking English. As a result, we are the literal manifestation of Pol Pot’s attempt to erase Cambodia’s history and culture. However, in spite of this void, there exists a growing movement of young and empowered Cambodians—academics, artists, musicians, and activists—who are trying to bridge this generational chasm.

For months, the senior surviving leaders of the Khmer Rouge have been tried for crimes against humanity, war crimes and genocide in Cambodia by a United-Nations-backed international tribunal that was established in 2006. Over half a decade later, and at a cost of an estimated $200 million, the court has prosecuted only one individual, Kaing Guek Eav, known as Duch, who presided over the execution of more than 16,000 in Cambodia’s most infamous prison. On Feb. 3, the tribunal extended his sentencing to life in prison. In spite of this ruling, the court is on the verge of collapse because of corruption and a lack of political will by the government to proceed beyond the trials of only the highest ranking surviving leaders of the Khmer Rouge. This is heartbreaking. I asked my mother how she felt about this: she responded, almost tearfully, that this in and of itself could never take back her suffering. Many Cambodians I have spoken with in the course of photographing this project have echoed this sentiment. But I am convinced that justice and healing must emerge from the collective will of my people.

Pete Pin is a Cambodian-American documentary photographer based in Brooklyn, N.Y. He was a Fellow at the Magnum Foundation Emergency Fund, which supported the Bronx portion of his long-term project on the Cambodian diaspora. More of his work can be seen here.

Critical Mass: Michael Mergen

Looking at portfolios from Critical Mass 2011…

Some think the United States is a pretty sophisticated country. We have the ability to put a man on the moon, create the iPad, and change the way the world communicates, but Michael Mergen’s project, Vote, shows just how far we have to go in the world of voting. His images make one wonder how anyone gets elected fairly, yet at the same time, tells us that we really are a country of communities, all working hard to create the American dream.

Based in Providence, RI, Michael earned a BFA in photography from the Rochester Institute of Technology in 2000. He began his photography career as a photojournalist and soon after, began working for national newspapers and newswire services in Boston and then his hometown of Philadelphia. Following a two year artist fellowship with the Philadelphia based Center for Emerging Visual Artists, Michael began pursuing his art work. He is an assistant professor of art/photography at Longwood University, Farmville.

Photographed on Election Day from 2008-2010, Vote investigates the spaces where the ideals of our political system meet the mundane realities of participatory democracy. The photographs consider the collision of private and public, consumer and citizen, and the incongruity between the functionality of the spaces and that of the voting booths.

Precinct 9, Shelby Township, MI

Precinct 22020, Corona, CA

Precinct 10, Saugus, MA

Precinct 9002139A, Valley Village, CA

Precinct 207, Meridian, OK

Early Voting #16, Reno, NV

Precinct 55, Foster, OK

Ward 40, Precinct 32, Philadelphia, PA

District 4-2, Murfreesboro, TN

Early Voting #8, Las Vegas, NV