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.
I think most of us would like to think we lead interesting lives, but Colorado photographer, Skott Chandler provides the evidence that much of what we do is routine or banal. Skott gave a spirited presentation at SPE that spoke to his creative approaches to making images. The photographs featured today from his project, House Watch, are the result of self-created pinhole cameras secured to the ceilings of a whole host of living spaces. The results reflect how people (and dogs) use space–those who are in focus or semi-focus are more stationary, those who disappear are only moving through the room.
Skott is a photographic artist in Denver, Colorado where he teaches at the Art Institute of Colorado. He received his degree in Studio Art at Southern Utah University, and during that time he received a UGRASP (Undergraduate Research and Scholarship Program) grant for his surreal Photocubism series.
He then received his MFA from the Savannah College of Art and Design. Skott has exhibited work throughout the United States, as well as internationally in Bordeaux, France, Hong Kong, and Geneva, Switzerland. His work was selected for Klopmpching Gallery’s inaugural FRESH 2011 photography competition and he was recognized by Gallery 263 in Cambridge, MA, as one of the Top 30 Emerging Artist Under 30 for 2011.
Humans have many levels of connection with their personal spaces. Narratives within these domestic spaces differ depending on the inhabitants and their activities that may be mundane, ambiguous, hilarious, absurd, or unsettling. The space within a house affects the inhabitants, and the inhabitants affect the space–an oddly intriguing phenomenon that proves difficult to visualize.
Creating a photographic representation of such an abstract emotional experience was my motivation. The photographs take the perspective of an omniscient voyeur investigating the dynamics of space within a home. Ceiling mounted pinhole cameras cast an unflinching gaze upon the inhabitants and rooms within the walls; not to judge, but to witness.
photography students from the Savannah College of Art and Design and
conceived the idea for the magazine in the spring of last year. As the
end of their school careers were approaching they became increasingly more
aware of the need for a strong social community, especially for
photographers. They also wanted to create a community to support emerging photographers on an international platform, and AINT-BAD was born. You can purchase issues here.
Kyle Ford was born in the mountains of the Adirondack Park in upstate New York. He received his Bachelor of Sciences from Skidmore College in 2005 and his Master of Fine Arts from Savannah College of Art and Design in 2009. Kyle’s work has been featured in publications such as Newsweek Japan, Magenta’s Flash Forward and The Wall Street Journal. He is currently living in upstate New York and teaching classes at Skidmore College.
A bunch of green bananas, a solitary flourescent bulb and the pie-shaped pieces of a Trivial Pursuit Game. These are the subjects of photographer Matthew Gamber’s latest collection of still lifes, titled “Any Color You Like.” The objects Gamber photographed were chosenfor their distinct and recognizable colorsa decision that appears to be in conflict with the presentation of the series as stark black-and-white prints.
The decision to print in black and white was meant, Gamber said, to challenge how people understand what they see. By using these different processes, and to try to look at certain subjects, it’s just to call attention to things that we take for granted in terms of seeing.
The inspiration for the project came while Gamber was teaching at the Savannah College of Art and Design. He discovered that a student in his color photography class was colorblind. He didn’t look at color as colorhe looked at it as value, Gamber said. He looked at it as a lack of contrast or a lack of clarity.”
The realization that his student was manipulating color, while only being able to see in tones of gray, led Gamber to create photographs that mimicked this experience. He began by shooting objects from pop-culture that were easily recognizable: a pair of 3D glasses and a Lite-Brite toy, for instance. He wanted to play with ideas of perception by removing the most recognizable feature from his subjects, their color.
I wanted it to be something that felt just out of reach, he says. I think the success of this relies on what the viewers expectations are.
As the project progressed, Gamber moved on to more subtle imagery. seo marketing . A shot of ornately patterned wallpaper in a Boston brownstone references Bauhaus-era color theory that influenced the industrial production of wallpaper in the 1930s, Gamber explained. An image of a display of North American birds took on more meaning when Gamber learned that the birds feathers do not have their own color, but rather, are able to reflect certain light spectrums.
In addition to thinking about color, Gamber wanted his photographs to play with ideas of timelessness. I wanted to shoot in a way that it looks like it could have been shot yesterday, but it also looks like it was shot in the 1940s or the 1950s, said Gamber. There is something about how when you photograph something in black and white, it gets locked in that timeframe where it just becomes obsolete as an everyday seeing experience.
Gamber spent two years on Any Color You Like, which recently won The Curator award from Photo District News and will be featured in Brooklyns Photoville show this month. All of the photographs were shot on color film or as color digital captures. The negatives and color files were then converted to black and white negatives and printed as traditional silver gelatin black-and-white prints in a darkroom.
Working on this project has influenced the way Gamber thinks about color in both his photography and his life. He has started bringing color blindness tests into the classes he teaches at various colleges in Boston. He has also, Gamber said with a chuckle, become a more color-coordinated dresser.
I can see that much more now, said Gamber I’m more aware of how we are more emotionally charged by certain colors.
Matthew Gamber is a Boston-based photographer. His photos will be featured in Brooklyn’s Photoville festival from June 22-July 1.
Greer Muldowney is an artist and photography professor based in Boston, Massachusetts. She received an undergraduate degree in Political Science and Studio Art from Clark University, and MFA from the Savannah College of Art and Design. She has worked for photographers Stephen DiRado and Henry Horenstein, and has acted as the curator for the Desotorow Gallery in Savannah, GA and as an assistant curator at the Panopticon Gallery and Panopticon Imaging in Boston, MA. She currently teaches at the New Hampshire Institute of Art and the New England Institute of Art.
I was delighted to meet Boston photographer, Greer Muldowney, at the recent Flash Forward Festival in Boston. Greer has been navigating the photographic waters for some time, studying with Stephen DiRado and Frank Armstrong while pursuing a degree in Political Science and Studio Art at Clark University, assisting Henry Horenstein, working at the Panopticon Gallery, and ultimately settling down into the MFA program at the Savannah College of Art and Design. While at SCAD, Greer was selected by the faculty to work on a documentary project in the Sham Shui Po district of Hong Kong. The result was her thesis exhibition, 6,426 per km2, that I am featuring below. Having now graduated, Greer begins her second year teaching at the New Hampshire Institute of Art and the New England Institute of Art, has exhibited worldwide and curated exhibits in China and in the U.S. She recently curated Alter-Ego II at the Nave Gallery, and will be exhibiting her own work in a solo exhibition through the Griffin Museum this fall.
Having recently visited China this past fall, I am struck by Greer’s ability to bring elegance and a sense calm to a landscape of densely packed vertical living, an environment seemingly stripped of the sounds and smells of millions of human beings pressing against each other in their quest for a better life.
While there I realized that my previous understanding of urban policy, or at least my education in the American system, clearly did not apply to the Hong Kong system of public housing, infrastructure, or any ramifications of sustainability (not that the states have truly awakened to sustainability, either). I decided that while I was not working on the documentary, I would build my thesis around making imagery that was an allegory for western perception on this urban landscape; making imagery as beautiful as possible, mostly in response to the media fatigue I felt in regards to Chinese-American international policy.
Statement for 6,426 per km2: At 6,426 people per km2, Hong Kong boasts the most densely populated urban center in the world. The reality of sustainable practices, depletion of resources and a shifting global power paradigm pervade media involving China, and its Western syndicate territory, Hong Kong.
These photographs do not propose a reality so different from the spin of contemporary media, but asks an audience on the other side of the world, the Western world, to reflect on whether these images provide a surrogate for wonderment or trepidation for a changing global climate and future.
This week I am featuring artists exhibiting in Verve Gallery’s Do Process exhibition, showcasing eight unique approaches to the photographic process.
I had the great pleasure of meeting Caitlyn Soldan when I was visiting the Verve Gallery. Not only is Caitlyn a gallery assistant, she is the gallery’s Featured Online Artist this month, a category of gallery representation that debuts emerging artists. Caitlyn very kindly shared a variety of the work from the exhibition, pulling from drawers to explain the varied processes used in the work. The images Caitlyn is exhibiting is entitled Thin Veils, using the Mordançage process. In the work, she takes self-portraits using a pinhole camera. Caitlyn takes her cues from Victorian spirit photography – portraits with spirits. Thus, the images in this exhibition are Caitlyn’s visual improvisations of ghosts, spirits, and hauntings. Caitlyn’s work is ethereal, esoteric, and allegorical.
Caitlyn was born in Chicago and graduated from Savannah College of Art and Design in June 2011 with a BFA in Photography. Her work explores themes of history, memory and time. Caitlyn prefers working with film and alternative processes but also enjoys exploring the possibilities of combining historical processes with new technology. Her work has been exhibited throughout the United States and France. Caitlyn presently resides in Santa Fe, New Mexico.
Mordançage is a 20th century process created by Jean-Pierre, which is based on a 19th century process known as bleach-etch. Bleach-etch is a reversal process for film negatives. The process involves stripping away the darkest parts of the emulsion of a silver gelatin print. This image transformation creates a relief, or a raised area on the print. Water is used to float the delicate silver emulsion on the image so as to rearrange it and dry it back down onto the print. The end result is a one-of-a-kind and thus unique photographic image. The artist chose the Mordançage process for this series because it enhances the themes of time, decay, and mortality in her work. The process also gives the images mysterious and otherworldly qualities, separating them from reality.