Tag Archives: Sadness

Brighton Photo Fringe Photo Stroll Part Two – Richard Glynn, PhotoVoice and Brighton ArtsFORUM 2.0 with Farnham student Catherine Symons

Welcome to the second part in Catherine Symons’ Photo Stroll on the press view for Brighton Photo Fringe 2012.

RICHARD GLYNN – LOST WALTZ

Richard Glynn – Lost Waltz. Photos © Catherine Symons.

Situated on the North Lawn, St Peter’s Church is this intriguing outdoor exhibition by Richard Glynn, a Wideyed exhibition curated by Human Endeavour.

In 1869 Josephine Bowes and her husband decided to make a grand house, which was also designed to be a place for their large artwork collection to be shared with the people of Teesdale, County Durham. However, the Bowes didn’t live to see the completion of this project, and although some rooms were open to the public, some were incomplete.

“The images are of a space in transition; an unfulfilled dream about to find new life, but tinged with the stillness and sadness of what might have once been.” From Wideyed website.

There is something captivating about this exhibition. There is the busy traffic of Brighton all around, and yet, encapsulated within the lawn, is the stillness of the subjects in these photographs. On until 18 November.

PHOTOVOICE – HAVING OUR SAY TOO

PhotoVoice, Having Our Say Too. Photos © Catherine Symons.

PhotoVoice is an organisation which was set up to encourage and allow people from socially excluded groups to express themselves through photography and story telling.

The exhibition is currently displayed in one of the Photo Fringe’s hub spots – The Redroaster café. Showcased work is from a two-year project working with young people from around the UK who have been sexually exploited.

Many of the participants had never used a camera before so PhotoVoice set up  workshops. What was so apparent, when talking with the young people about the work they made, was how much it helped them and how much they enjoyed working with PhotoVoice and photography. “It gave me something to focus on and I would definitely like to continue with photography.”

The hard-hitting subject of the images displayed in this busy café highlight how this is an every day occurrence and one that should not be ignored.

Over the next year, PhotoVoice will deliver three more projects and combine them to make a DVD. This DVD will be a resource for practitioners working with young people, supported by The National Working Group for Sexually Exploited Children and Young People. Ended 20 October.

Brighton ArtsFORUM 2.0

Female Fighters, Amelie Shepherd. Photos © Catherine Symons.

Brighton Media Centre hosted a selection of work from Brighton ArtsFORUM facilitators and presenters as part of Brighton Photo Fringe.

Artists include Murray Ballard, Peter Bennett, Martin Everett, John Ferguson, Emer Gillespie, Fiona Harvey, Beatrice Haverich, Julia Horbaschk, Vanessa Jones, Catherine Larré, John Mallett, Jacqueline McCullough, Ellen Montelius, James Reid, Amelia Shepherd, Mariya Ustymenko and James Withey.

Brighton ArtsFORUM aims to facilitate and support critical debate, where artists can articulate and discuss the concerns of their work in progress.

Included in the exhibition is photographer Amelia Shepherd with her series Female Fighters. Portraits of female fighters are presented alongside audio interviews on a video screen. The women have all been documented in the moments straight after fighting or sparring. The idea behind Amelia’s work came from her own participation within the sport, as she comments upon misconceptions of female fighters. Ended 17 October.

Filed under: Photo Stroll, Photographers, Photography Festivals, Uncategorized Tagged: Amelia Shepherd, Brighton ArtsFORUM, Brighton Media Centre, Brighton Photo Fringe, Catherine Symons, Female Fighters, Josephine Bowes, Lost Waltz, PhotoVoice, Redroaster café., Richard Glynn, The Bowes Museum, The National Working Group for Sexually Exploited Children and Young People.

Photo News – Laura Noble issues open letter about closure of Diemar/Noble photography gallery and launch of new L A Noble Gallery

Today Laura Noble sent out an open letter to her network about the closing of the Diemar/Noble Gallery, billed as “one of the capital’s top spots for photography” (see below). The word was out and about on twitter where followers commented on the demise of the gallery. However, it’s not all bad news as from the ashes new things – the L A Noble Gallery – are created, so I’m sharing the letter with you all:

Dear Friends,

It is with great sadness I write to tell you that, after three amazing years, Diemar/Noble Photography has closed its shutters for the last time. I would like to take this opportunity to thank you personally for your support. Without the patronage of clients and visitors, the enthusiasm of the press and the ambition and talent of our artists, we would not have achieved so much in such a short time.

Diemar/Noble was always more to me than a gallery, it was – and remains – a community. If the legacy of the gallery is to leave even a little more passion and excitement for photography in this City, then it is an achievement I will be very proud of.

Without you sharing in the vision, the gallery could never have hoped to become “one of the capital’s top spots for photography” (Time Out) over such a modest time. I hope you can share my pride in all that the gallery has achieved.

My time as Co-Director at Diemar/Noble has been a life affirming one and deepened my love for all things photographic. The opportunity to explore different avenues in the future may have drawn this venture to a close but my commitment to photography remains and the next chapter promises to build on that. My involvement with photography is an on-going and passionate one. I will continue to carry out portfolio reviews and consultations, lectures for photographers and collectors as well as my other writing and curating projects.

Most exciting of all, I have now established the L A Noble Gallery, which I shall be launching at the Unseen art fair in Amsterdam on the 19th of September. The lauraannnoble.com website will also be launched on the same day.

Now looking forward to my next challenge, I am excited to see what the future will hold for myself, the photographers with whom I work and those exciting new talents we have yet to discover.

I do hope that you will stay in touch and join me for future endeavors.

Yours faithfully in gratitude,

Laura Noble

Filed under: Art Galleries Tagged: closing, Diemar/Noble Photography, Laura Noble, london, photo gallery, Unseen art fair

Martin Usborne, Tea with five sugars

Martin Usborne, Tea with five sugars

Martin Usborne

Tea with five sugars,
Hoxton, London, 2008
From the Joseph of Hoxton series
Website – MartinUsborne.com

Martin Usborne lives and works in London. He trained in architecture, then philosophy, then psychology, then 3D animation before finally settling on photography. His current work consists of portraits, both human and animal, and he is particularly interested in capturing the relationship between the two whether directly (when both appear in the frame) or indirectly (as in the case of his MUTE: the silence of dogs in cars series, where the human's role is implied). He strives to make his work poignant but playful – he feels there is too much unremitting sadness in contemporary art photography. He has published two photography books, the first called I’ve Lived in Hoxton for 81.5 years about an old man that has only once left East London, and another, My name is Moose about what it is like to be a dog in the recession. His third book, The Silence of Dogs in Cars is due out in October.

Cynthia Morgan Batmanis

Cynthia Morgan Batmanis is a cinematic artist, using the night time hours to create her evocative images.  Cynthia also sets the stage using a home that reflects the past as a back drop for her series, And If I Do.  Using historical and alternative photographic processes, her photographs are a natural progression from her other interests of printing and drawing.  Cynthia received her B.A. and M.A from the University of Texas, Austin. Her work can be seen in exhibitions across the country.

For her project, And If I Do, Cynthia created intimate sizes of Ziatypes on salted gelatin Bergger paper.

As people age they redefine who they are to themselves and others. Redefinition becomes especially difficult when cherished family members are facing debilitating illnesses.Constrained redefinition brings about feelings of sadness and loneliness. Despair ensues and coping skills are tested. I decided to photograph a house built in 1870. 

Old houses evoke my past. The memories of families live there. I work at night and occasionally at sunset using any and all available light. My intent is to show the manifestations of debilitating illness on a family. My focus is on a home, a space devoid of family and a confined space filled with lamentable emotion.

Jonathan Stead

Sometimes I see projects where the imagery, process, and presentation are a perfect fit–and Jonathan Stead’s compelling and poignant series, Fragile Mind, about his grandmother’s journey through dementia and ultimately into death is one of them. His images are perfect reflections of an experience layered with fragility, sadness, and memory.

Jonathan lives in Sheffield, UK, where he runs workshops in analogue photography. He received his undergraduate degree in graphic design at the University of Lincoln and is currently in the process of finishing of his MA in photography at Manchester Metropolitan University. His work concentrates on the hand crafted and “considered nature” of analogue photography. Jonathan’s work uses historic and alternative processes and techniques to create work that is timeless and has an ethereal beauty.

Fragile Mind: Fragile Mind documented my Grandmothers struggle with dementia and, as it turned out, the last few months of her life. During my weekly visits I became fascinated by the syndrome and how it began to claim her personality and ultimately her identity.

It led me to ask questions about our memory, it’s fragility and how it defines us.

The events that led to this project began over three years ago when my Grandmothers husband died and she started to become increasingly withdrawn and confused. Perhaps it was the lack of focus, the lack of someone to care for but over the following year or so she became increasingly vulnerable and dementia started to become noticeable which led to her being moved to a care home.

I was struck by how this condition made her withdraw and become increasingly isolated and internal. As destructive as the syndrome is, it is also fascinating in terms of how the various stages affect a person. Her stock answer became ‘no’ (to cut the conversation), she began to talk less and less, and in the last six weeks she never opened her eyes. At this point the only things that seemed to get through were music (she used to tap her feet to the beat) and touch.

When she was younger my Grandmother’s two passions were sewing (she was a professional seamstress) and dancing. There were a few times when I would visit her and she would be in her own little world tapping her feet or trying to hem the dress that she sat it, I found these moments fascinating – was she lost in some kind of dream state? Her version of now seemed to be the reality of twenty years ago.

My work does not usually follow this documentary route especially involving people and at times I felt a little intrusive and almost as if I was doing something wrong. But the more the project developed the more documenting this time in my Grandmothers life became appropriate. I never set out to create a beautiful body of work I wanted to capture the monotonous nature of her days, the glimpses of emotion and the sense of loss I was witnessing.

The project aims to convey the vulnerable nature of us and of our minds. I chose to use glass plates to reflect the fragile nature of my subject. Showing the translucent glass plates without any frame echo’s the fragility that I saw in my Grandmother. The plates that I am most fond of are the ones where the emulsion was made to come away from the glass during processing. These fragmented elements, the mistakes and the organic qualities of these flaws were what I was searching for, they for me, sum up her last few days.

Installation Images

TIME Looks Back at The Best Photos… of Photos from 2011

Whether it’s a time of happiness or sadness, celebration or condolence, pictures capture the essence of a moment in time and preserve it, so we can look back and recall — if only for a second — how that moment made us feel.

For this reason, photographs tend to elicit strong reactions. And for the picture-holder, these mementos are also deeply personal, representing a life left behind, a new beginning, or a rest stop in our fast-paced lives.

Here, LightBox curates a crop of images that give us a glimpse into others’ memories. These are photos of photos — a nostalgic, if not somewhat contemplative look into a world within a world, where blissful instants are lost among a sea of uncertainty, and moments from the past are frozen in the present, stark in the contrast between then and now.

Some of the most emblematic photos of photos from the past year came from Japan, as family portraits smiled up from among the post-tsunami dust and debris. The photographs pictured are reminiscent of lives that were lost — either by death or through the sheer magnitude of this disaster — with only the vast unknown remaining.

In Libya, photos of burning, destructed images of Muammar Gaddafi diverged from framed pictures of the fallen dictator that were constantly brandished by his supporters. Back in the U.S., photos of lost loved ones were posted alongside their names at the 9/11 Memorial, in New York City, in a tribute to people who will never be forgotten. Meanwhile, in Los Angeles, mourners paid their respects to actress Elizabeth Taylor by surrounding her picture with flowers on her Hollywood Walk of Fame Star.

These photos of photos leave us reminiscing about those pictured, and what their lives must have been like before everything changed. But even the tattered remains of photographs can’t erase what lies in the mind, where memories flourish undisturbed and these moments are never forgotten. —Erin Skarda


The Life of Riley

With great sadness, we said goodbye Tuesday evening to my constant companion of a dozen plus years. Riley had major surgery two months ago after which she was diagnosed with cancer. Recently, it had spread to her brain and we knew it was time. A vet came to our house to help her go and we had the great privilege of being with Riley at the end of her life. She left in a way that was profound and peaceful.

In the way that the karmic world works, I received an e-mail yesterday from Laura Brunow Minor letting me know that a photo essay that I had submitted several months ago on the subject of “what I have learned from my pet” would run in the new Pictory Magazine and it would be launched today–remarkable timing that felt like yet another quiet gift from Riley’s remarkable soul. Here is my essay from Love Without Language–be sure to read all the photos stories as they are wonderful.

Riley was a big part of my photo life. From an early age, she discovered the camera. Whenever I set up my black velvet backdrop, she would simply plop herself in the middle of the fabric, ready to work. I often had to get her out of the frame as she wanted to be part of whatever I was doing. She had the patience of a saint, allowing me to cover her face in masks, wear wigs, be humiliated, and wait quietly for her reward.

Arrangement in Green and Black #20, Portrait of the Photographer’s Mother

Arrangement in Green and Black #11, Portrait of the Photographer’s Mother

Converse, from Self Portraits

The Star, from Hollywood at Home

Most importantly, Riley brought so much joy to our family. She loved my children, always happy to have them return home from school so she could participate in their activities–she attended basketball games, dressed up at Halloween, and joined in on the slumber parties . She also loved anything to do with water–swimming in friend’s pools, running through every sprinkler in the neighborhood, loving our trips to the beach or lake where she could be free to swim and explore. The highlight of one summer at the lake was when Riley emerged from the water with a huge eel and was greeted with screams and fascination.

I can still hear the tinkle of her collar, feel her presence in my house, hear her sigh. I know I am not alone in understanding that our pets are gifts and wonderful teachers, making us better by teaching us how to love, how to be loyal, how to live each day smelling the good smells, being happy to see friends and family, and savoring every last morsel of life. Thank you, Riley, for loving me so completely. I will miss you until the day we meet again.

Anne Berry

I’ve been a big fan of Anne Berry’s wonderful work with animals and have been very remiss in featuring her work on Lenscratch. You may be familiar with her work with monkeys–images that are profound in their connection with the viewer. These photographs have such soulful power conveying the sadness of captivity and seem to reflect back something about ourselves.

Anne grew up in Atlanta, spending vacations and summers at Lake Burton, on the Flint River in Sumter Co., and on Georgia and South Carolina barrier islands. Her appreciation for places unspoiled by development is central to her vision. Also essential to an appreciation for animals. Anne photographs animals “to get people to truly look at them, to hear their inner sound, and to consider their value and their place in the world.” Thank you for that, Anne!

Anne has supported non profit organizations in three ways: by making a photo book for them to use as they wish, by licensing images at no cost, and by producing awareness raising gallery exhibits. She also has a long roster of awards, exhibitions, and published work, a reflection that she is doing something right.

Anne has a new series, EOH (Equine), that explores the lives of horses, that I am featuring below.

EOH (EQUINE): Wassily Kandinsky teaches that the artist has the ability to “realize the inner sound of things.” I listen for this sound when I photograph animals. People have lost an essential connection to the land and to animals. I photograph animals to remind the viewer of this bond. Because it exists so prominently in art, myth, and history, the horse more than any other animal has the power to stir memories of this important relationship.

The horses and donkeys in this series are in rural settings or roam freely as feral animals. The connection between the horse and the land is clear, and also evident is the animal/human relationship. Even if the horse is not gazing directly at the camera it is aware of the photographer. Capturing these images requires patience and understanding. I am close to the horse physically, and I have established a connection with it.

I hope by looking at these images the viewer will hear the inner melody of the horse. These lyrics ask the viewer to consider the animal’s place in the world, to do as Franz Marc instructs, to “contemplate the soul of the animal to divine its way of sight.”