Frederic Weber lives and works in Nyack, New York. His photographs have been reproduced in publications including Art + Auction, Aperture, Flash Art, The New Yorker, The New York Times and more recently, The Unseen Eye: Photographs from the W.M. Hunt Collection (Aperture, 2011). Weber’s artworks are represented in several museum collections, including the Whitney Museum of American Art, the George Eastman House, Los Angeles County Museum of Art, Museum of Fine Arts Houston, as well as many private collections such as Manfried Heiting, Bill Hunt and Fred Bidwell.
Carol S. Dass has created a project, Mother, where she looks at the significant female figure in her life with a new perspective–not as the woman who raised her, but as a human being with her own history and dreams. As children (and even as adults) it is difficult to see our parents outside of our familial arena, but then again, it works both ways–as parents, our children will always be our children–people to be watched over and concerned about.
Carol was born in Oakland, California, raised in rural Missouri and she received her BA in Art from Northwest Missouri State University. She has lived in Colorado Springs for 30 years and has been an instructor of photography at the University of Colorado – Colorado Springs for the past 12 years. Carol’s work has been shown nationally and is in the collections of the Denver Art Museum, the Colorado Springs Fine Arts Center and numerous private collections.
Typed out in bold that word seems foreign to me. Partly because I have never been or will ever be a mother. As I move through this life, thinking about aging and one’s place in the world a lot of time has recently been spent with my mother. She has been alone for several years, and I have been seeing her with new eyes while listening to her history. It’s funny how growing up we tend to view our mother’s as just that “Mother”, unable to see beyond that role of the woman who carried me in her womb, raised me the best that she could, and will in many ways continue to view me as a child regardless of my age.
My mother was forced to work to support us, went back to night school while working and taking care of nearby relatives. She was not at home to greet me with a plate of warm cookies when I came home from school asking after my day. I remember when I was an adult coming into my own finally seeing my mother as a “person”, a unique individual who had many adventures and stories to tell.
The reasons behind perceived and real dysfunction became easier to understand. These images are a small documentation of “mother”, a reflection of what has occurred and what is ahead.
Lee Grant is a documentary and portrait photographer who lives and works in Canberra. She is the founder and co-curator of Light Journeys as well as a founding editor of Timemachine Magazine. In 2010, Lee recently received a Master of Philosophy in Visual Arts from the Australian National University. That same year she was the recipient of the prestigious Bowness Photography prize. Lee has exhibited at the Australian Centre for Photography (Sydney), the Monash Gallery of Art (Melbourne) and the National Portrait Gallery (Canberra) amongst others. A selection of her work was recently published in the Big City Press monograph Hijacked Volume 2: Australia and Germany. Lee’s work is held in the National Library, the Canberra Museum and Art Gallery as well as numerous private collections and she has received grants from ArtsACT, CAPO/Singapore Airlines and the Australia Council.
Alfredo De Stéfano was born in Monclova, Coahuila, a city in the northeastern Mexican desert and has a bachelor´s degree in Communication Sciences by the Universidad Autonoma de Coahuila. He is considered one of México´s most important contemporary photographers. He has a passion for the landscape and especially the desert, an environment to which has has traveled countless times, performing art interventions in it and photographing it. His photographic series include Of places without a future (1992), Remains of paradise (1996), Replenishing emptiness (2002) and Brief chronicle of Light (2005). Since 2008 he is working in his new series Storm of light: All the deserts are my desert, which take place in different deserts from the world. His work has been exhibited internationally and are included in public and private collections in México as well as abroad.
This week, I am sharing a few of photographers that I met at the Filter Photo Festival in Chicago….
Born in Krakow, Poland, Ursula Sokolowska studied photography at Columbia College and compled her BFA at the School of the Art Institute of Chicago. I first saw her Constructed Family images a year ago at Filter and I was happy to see the continued progression of the series. Ursula will be exhibiting her work at the JDC Fine Art Gallery in San Diego, opening on December 7th, running through February 23rd, 2013. I am featuring work from two series, both incorporate projection, are deeply personal, and both explore the idea of separation of the body from consciousness and objectification.
Her photographs can be found in many public and private collections, including the Art Institute of Chicago, the Museum of Contemporary Photography, the University of Illinois at Chicago, and Tanqueray. Selected exhibitions include The Travelling Gallery, Edinburgh, Scotland, Saatchi Gallery, Zoo Art Fair, the Royal Academy of Arts, London, United Kingdom, Minnesota Center for Photography, and Schneider Gallery, Chicago, IL. Her work has appeared in CameraArts magazine, Light & Lens: Photography in the Digital Age, and featured in the Chicago Tribune.
The Constructed Family series examines the trauma and uncertainty carried from childhood. In particular, I am referencing my own upbringing as a Polish immigrant. There is an undercurrent of helplessness and misdirection linked to a sort of schizophrenic parenting, excommunication, and constant movement. Typically, the perception of children handed down by my elders was that children did not have a choice. Frequently, I heard a Polish equivalent of the phrase “Children should be seen not heard”. I am attempting to give these children voices.
These photographs are projection-based installations.
The models are mannequins and their faces are projections. The faces of the children are slides that my father took of me when he was still involved in my life. The other slides are present day images that I have shot of my mom, my dad, and myself. My goal is to reconstruct my own childhood, empowering the past for better or for worse. The result is a troubling recreation of events that may seem disturbing but are far less in context to the real events that transpired.
Untitled Series:The images presented pose several questions towards the societal view of gender as related to the biological roles that exist. By using the flower as the reference point, we see the inequality and the taint that is applied to a supposedly natural and beautiful inevitability. These human plant-life carry their own baggage that spews out of every orifice and drips moistly from their painted skin. Their reproduction is marred by the inner psychological turmoil as related to the divisions between sexual identity and biological reality, quite unlike their floral counterparts.
The flower represents a self-sustaining sexual organism, one of which is free from divisions of sexuality and role yet forced by design biologically. When we admire what we see, staring at its naked form, we are free from imposing predisposed notions of sex and gender. Yet when we see human form, we cognitively associate our own psychological issues with role, gender and biological fulfillment subconsciously. With the flower there is no revolt against being more than what it was created to be. It exists to be seen and to reproduce year after year. It is perfectly content being an object to be admired on a singular level.
The question remains why are we any different? By combining a seemingly natural and innocent vision of a flower and juxtaposing it with provocative cues, we explore the seemingly inevitable chain to biology that humans fight consistently. The fight to be more than just a sexual being content with reproducing itself and the psychological frustration that ensues. Each subject has his or her own issues with their design. These hopes and fears are explored by facing the possible truth that we may be nothing more than pretty flowers, waving their prospective parts in the open for all to see.
Oleg lives with his family in Bryansk.
Jacqueline states: When I first saw Oleg’s work I was riveted by the strong connection that exists between him and the people he photographs. Like an August Sander, Oleg has been meticulously photographing his region, his town, his people and his neighbours. Young and old, men and women, jubilant and despondent, communities and outsiders… his work is very much local and documental. Yet it is the universal dimension and the emotional quality of his portraits that keeps me coming back to his images….
Sean Kelly, Art Basel Miami, Artist: Kehinde Wiley,
From the Art Fare series
Website – AndyFreeberg.com
Andy Freeberg was born in New York City where he learned at an early age to be a critical observer of the world and the people in it. He studied at the University of Michigan, began his career as a photojournalist and now concentrates primarily on fine art projects. Freeberg has recently emerged on the contemporary art scene as a wry commentator on the art industry itself. Long fascinated with the gallery and museum worlds, he often turns his camera on the dealers, gallery patrons, artists, museum guards, and their interplay with the works of art on view. His project Guardians, about the women that guard the art in Russian museums, won Photolucida’s Critical Mass book award and was published in 2010. The Guardians will be on view at the Cantor Museum at Stanford University through January 2013. His series, Art Fare, documenting another side of the art world, will open at Kopeikin Gallery in Los Angeles in September 2012. Freeberg’s work is in many public and private collections including the Museum of Fine Arts Boston, The Portland Art Museum, the George Eastman House, and the Museum of Fine Arts Houston.
With 1600 Pennsylvania Avenue, I sough to explore and document the American landscape using the constant of the country’s most famous address – the White House. Using this address as a constant, I made straightforward images of everyday America. What followed is a vernacular, kaleidoscopic view of this country: lower and middle class homes of all sorts, mundane structures of a waste water treatment plant, and bland, nameless brick and cinderblock buildings. And it is this contrast to the regal white columns of the White House, its manicured lawn and historical context that makes these buildings so interesting, the familiar humdrum of the American landscape, that simple happenstance of sharing an address with the most significant of all.
Pine Bluff, AK, 2008
Street, Gary, IN, 2008
Irwin, PA, 2008
Lorain, OH, 2008
McDonough, GA, 2008
Miami Beach, FL, 2008
Morrisville, PA, 2008
Newton Falls, OH, 2008
Whiting, NJ, 2008
Guilderland, NY, 2008
Stoughton, MA, 2008
NE, St Petersburg, FL, 2008
Tyrone, PA, 2008
West Mifflin, PA, 2008