Ashley Kauschinger is a narrative photographer who explores identity, memory, and family. She received her BFA from Savannah College of Art and Design and is currently in pursuit of an MFA from Texas Woman's University in Denton, Texas. Her photographs have been exhibited nationally in venues such as Rayko Gallery and Mpls Photo Center. She has recently been published in the PDN Photo Annual and is a 2012 Critical Mass Finalist. Ashley also features and interviews photographers for her blogzine, Light Leaked.
artists have an opportunity to have their work seen by a nationally
recognized figure in the field of photography. Past jurors include
Michael Foley, Clint Willour, George Slade, Carol McCusker, David Bram
and most recently Debra Klomp Ching. From these submitted entries a
cohesive show emerges for display at wall space. The ND13 exhibition
will be in Santa Barbara, California in January, and Seattle, Washington
in February. The juror is Ann Jastrab, from the Rayko Photo Center in Los Angeles.
This competition is open to artists working with plastic cameras with
plastic lenses. The more obsolete, flawed, and lo-tech, the better.
Images should be taken with cameras with limited controls, such as
Diana, Holga, Lubitel, Lomo, Banner, and Ansco cameras. Beautiful prints
from less-than-gorgeous cameras – that’s what we’re looking for! This
is RayKo’s largest exhibition of the year with artists from all over the
globe submitting work, and hundreds of attendees at the reception.
in November 2010. Since then – and thanks to continued support from
photographers, readers, and the greater photography community – we’ve
had the pleasure of sharing more than 40 portfolios and projects.
They’ve all been made in the South, and we believe they offer unique
perspectives on both the complexities of modern Southerness and the
diversity of art coming out our region in the first part of this new
due date Nov 15th
Photography in any process is eligible with no limitations as to size or materials. Each artist may submit up to five works on online only. No mailed or emailed entries will be accepted.
announced a new photography contest today. The Stillwater, Minnesota-based group decided to
differentiate their contest from others that encompass wide varieties of
subject matter over a list of genres.
The result may be the most focused photographic competition yet.
there was an astounding number of one particular type of photograph being
taken,” said Carl Corey, whose farm and studio serves as the de-facto
headquarters for the Conservancy.
“I mean, it’s only sunset for a few minutes everyday, yet you look on
Flikr or Facebook and it’s pretty clear that as soon as the sky starts getting
a bit of color, everyone and his uncle is out there with a camera, snapping
away. I’m not talking just folks
taking vacation taking snapshots on their camera phones, either. There was a guy who wanted to get into
our group who presented about thirty shots of sunsets he’d taken with an 8×10
camera. Every other picture he had
was of a sunset.”
broken-down windmill,” clarified Dan Gerber, Visual Conservancy co-founder and
the group’s un-official standard-bearer. “I’d say his portfolio was 70/30
sunsets and windmills.”
corrected. “You’re not counting all those windmills that were shot at sunset.”
those!” Dan laughed. Mr. Gerber then recalled for me the
precise moment when the idea for this photo contest hit him. “We kind of knew we weren’t going to
invite this person to join the group, based on his work, but we started joking
that it was a shame there wasn’t a contest for who could spend the most money
shooting sunsets, because this guy would have to win it.”
was a viable niche that was not being filled. We did some informal research and concluded that it was
possible to launch a contest for very little investment, charge a fee and then
see if you get enough participation to make it worthwhile. We will, of course, have all works
judged by a panel.”
vigorously, jumped in.
photographers who win our various categories will have to pay for their own
shipping, framing and a special fees relating to their show. We haven’t decided where we’re going to
have a show, but it could be New York—or Hudson. We have a pretty nice community center.”
interjected, “Is that we’re currently weighing a couple of options vis-à-vis
the venue. Whatever that ends up
being, the thing to remember here is that because of this contest, several
lucky men and women will be able to present their photographs as the work of a
nationally-recognized, award-winning photographer, whether or not that image
happens to be a sunset.”
first annual Sunset Competition will be accepting entries from now until
November 15th. Details
can be found on the group’s Facebook page,
Marjorie has exhibited widely including the Rencontres d’Arles, Arles, France, Clark-Oshin Gallery, Los Angeles, Robert Berman Gallery, Los Angeles, Rayko Photo Center, San Francisco, and The Center for Fine Art Photography in Fort Collins, Colorado. Her work was included in the George Eastman House Museum auction at Sotheby’s, New York and she was runner-up for the 2009 and 2010 Berenice Abbott Prize for Emerging Photographers and a current finalist for Critical Mass 2012.
I’m forty three years-old and I’m trying to grow as a person but so is my skin. I’m not that interested in holding onto my youth. My life is far greater now. But letting go isn’t as easy as it sounds. Some days I don’t recognize this person who looks back at me in the mirror. She is older, has responsibilities. She has had to learn that sometimes God has a bigger plan for her life than she does. Not everything goes the way she wants it to go. Things happen. Money comes and goes. So do jobs. As well as friends.
People sometimes get sick and her kids will inevitably get lice and share it with her, which is still preferable to pin worms that their friends get. She will cry over losses and and weep when she sees her child standing in a line of other children. Not because everything is wrong. But because everything is right. On the outside, she strives for peace but inside there is a turbulence of holding on too tightly to all these things that have finally brought that peace and true joy.
With HER, she turns away from the mirror and turns the camera on her own life — examining the psychology of her age and her gender in black and white, through surreal interpretations and exaggerated gestures, reminiscent of Italian cinema, creating photographs that reflect the universal idea of womanhood and assure HER that she is not on this path alone.
It is a process that, ultimately, restructures the essence of the specimen. In this way, botanical life can only endure as a specimen in a liminal state, the extended occupation of a pause between natural growth and decomposition. It is in this otherwise invisible moment, one reachable only through the intervention of the preservative act, that I find a deep and uncanny beauty.
I emphasize the manipulation that manifests from preservation through the use of salt. This paradoxical mineral, that is necessary to sustain life—yet, if the delicate balance is outweighed, can extinguish it—reflects the structure of a preserved specimen and acts to preserve it. I submerge each living plant in a bath of salt water and allow the salt to crystallize on and within the living form.
Inspired by the intentions of botanical illustrations as a method to understand and control one’s environment, I seek to impress the human urge to order nature and in the process fundamentally change it. Using the platinum-palladium photographic process for its chemical stability and long-lasting image, these direct contact prints complicate the ideal of preservation, albeit, at the expense of the most authentic act of living matter, decay.
his grandfather who kept a darkroom in his closet. In college, he
ventured into photojournalism, interning at prestigious newspapers around the
US. Based in San Francisco since 2000 he focused his efforts on personal
projects. He has exhibited widely in solo and group shows, he was named Top 50 Photographer in Photolucida’s Critical Mass in 2010 and 2011, nominated for the 2011–2013 Eureka Fellowship Program, nominated for Photolucida’s book prize, and exhibited in the
International Photography Festival in Lishui, China. He is currently the artist
in residence at RayKo Photo Center in San Francisco and 2013 he will be the Artist in Residence at Newspace
Center for Photography in Portland, Oregon.
I was in the midst of a long process of photographing portraits inside San Quentin in May 2011 when the Supreme Court declared the overcrowding in California’s prison system unconstitutional and ordered the population lowered by 133,000 to achieve 137.5% capacity. My project began in 2008, when I petitioned the prison to allow me inside with my cameras. A year and a half later I was granted limited access and began a series of brief one-hour visits with the men. I was allowed inside once a year between 2009-12.
When invited back in January 2012, I decided to try a different approach that included bringing a tripod and directly asking the men to pose for me. I set up my tripod in front of a cinder block wall in the San Quentin cafeteria and began asking the men if I could take their portrait. Most seemed honored; a few declined. It wasn’t how the guards or warden expected me to work, and I could feel the tension. The guards whispered and huddled together in the corner. Less than an hour later they asked me to leave and ushered me out. Although the series I’m submitting feels complete, I continue to be interested in prison culture and the political issues affecting it. I hope to visit again.
While working on a series of cloud photographs in 1925, Alfred Stieglitz coined the title ”Equivalents” for his work, with the idea that the photographs could correspond to both the reality in front of the camera’s lens and the internal being of whoever was looking at them. Photographs could be representational and abstract, so even a photograph of a mundane subject could provoke a strong emotional response.
W. M. Hunt, the juror of the 17th Annual Photo Competition at Photo Center NW, chose this idea as the open theme for this year’s contest. So, the winning images are eclectic, but all meet Hunt’s criterion for what makes great photographs: their ability “to evoke a sensation that resonates through my being,” regardless of subject matter or technical process. See if the work resonates through your being too at Photo Center NW’s Seattle gallery, or check them out online. And for more of Hunt’s curatorial vision, check out The Unseen Eye: Photographs from the Unconscious, 35% off as part of Aperture’s summer sale, which ends this Friday, August 10.
I first featured the work of Sarah Christianson on Lenscratch several years ago after attending her presentation at the West Coast regional SPE conference. I was drawn to her photographs and story about her four-generation family farm in North Dakota. Not only was the work compelling and beautifully executed, but her story stayed with me long after the conference.
Sarah sent me the good news that Daylight will be publishing that same body of work, Homeplace ,in the Fall of 2013, and because it is her first book, she will be sharing in the publishing costs through Indiegogo. Sarah needs support to make this a reality, and if you would like to contribute, go here.
Sarah grew up on the family farm near Cummings, North Dakota. Immersed in that vast expanse of the Great Plains, she developed a strong affinity for the landscape and the stories it contains. This experience has had a profound effect on her work, as she enjoys creating narratives about place and personal experience through time, historical research, and the landscape.
Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She received a BFA in photography at Minnesota State University Moorhead in 2005 and an MFA in photography from the University of Minnesota in 2009. Since then, she has been living in the San Francisco Bay Area where she teaches photography at City College of San Francisco, volunteers at RayKo Photo Center, and remains an active member of the Society for Photographic Education. She has several exhibitions on the horizon and is getting married in August. Congratulaltions all around!
Images from Homeplace
Home, for me, will always be a 1200-acre farm in the Red River Valley of eastern North Dakota. Its original 160 acres were homesteaded in 1884 by my great-great grandfather, a Norwegian immigrant. My parents are now the fourth, and last, consecutive generation to work our land, as my siblings and I (like so many other young people) have all moved away to pursue other careers. These circumstances provided me with the impetus to document our farm and its origins in Norway at this critical juncture.
I combine my images with materials from my family’s archive, such as documents and snapshots, to create a rich multi-layered narrative. Just as different layers of texts intermingle on reused ancient manuscript pages, the history of our farm is marked again and again on the land as a palimpsest. As world populations shift from agrarian to urban lifestyles, our small family farm is only one amongst many that are approaching a crossroads. What will happen to them? Who will maintain these traditions and what does this tradition mean?
Massachusetts photographer, Collin Avery, is at the beginning of what looks like a long and happy career as an imagemaker. While many of his peers are watching Curb Your Enthusiasm or still figuring out a life direction, Collin is going full speed ahead. He uses his camera as a communicative tool to emphasize the quiet subtleties of his world….and it seems to be working. Just this year his work has been exhibited in the Photo Center NW, 16th Annual Photo Competition, Seattle, WA, juried by Karen Irvine, the Soho Photo National Competition, Soho Photo Gallery, NYC, juried by Lyle Rexer, Inanimate, Flash Gallery, Lakewood Colorado, juried by Adam Lerner, and The Photoplace Open 2011, Photoplace Gallery, Middlebury, VT juried by Alison Nordstrom. He will also be featured in the Aground exhibition at Photo Center NW opening August 5th in Seattle.
In the project entitled, “Here Nor There,” I am continuing to examine my interest with the intricacies and oddities of my immediate environment. As a child, I always remember being very keen to my surroundings and paying close attention to the quiet nuances often overlooked by others. Growing up I would avoid confrontation; oftentimes imagining I could disappear with a hope of avoiding my social awkwardness.
As I matured, I realized that I thrived on being an outsider that lacked in social normalcy. I am an observer and my fear is confrontation. I do not consider this a negative attribute, although my friends and family alike would argue differently. By photographing people and objects, I am creating a delicate juxtaposition between the awkward interactions and subtle nuances in my life, confronting moments that I once chose to avoid.