Tag Archives: Shadow And Light

Brighton Photo Fringe 2012 – Blind Field presents Origins of Encounter until 21 October

Blind Field are showing Origins of Encounter at the Phoenix Brighton until Sunday 21 October as part of the Brighton Fringe 2012. The artists involved are Joan Alexander, Luke AR Hamblin and Louise Maher, all of whom, according to the press release, “examine notions of the encounter in relation to place, narrative and the photograph”.

© Joan Alexander – Study V – Facing North Window – 60 Minutes

Joan Alexander
“Alexander’s work explores the margins of inscription and projection, the unacknowledged spectra between positive and negative. Alexander is interested in the ‘latent image’. A visual in waiting, from between times, like the line between shadow and light; the line, like a map, is always a metaphor. Alexander’s practice immerses the viewer within a passage of time through an encounter with the movement and interruption of light. Her projections create a space where the viewer must pass through lines of light drawing attention to their presence. The correlation between printed and projected material asks for a closer examination creating awareness to the tangible and intangible nature of her practice.”

© Luke AR Hamblin – A study of still life. Sunflowers

Luke AR Hamblin
“Hamblin is interested in the way in which photography enables us to dissect the world and pull it apart. For Hamblin making photographic pictures is about assembling a Cast of characters, analysing their poses, placing them in the picture frame. Hamblin has developed a complex process of picture-making, exploring the role of perception and portrayal in our engagement with ‘place’. His series Studies for a theory of the Epic Photograph encourages us to think about how simple aspects of pose and gesture can embody whole narrative worlds. Drawing on references from early twentieth century modes of portrayal: theatre, cinema and painting, Hamblin’s photographs offer the viewer undisclosed narratives to decipher and re-construct.”

© Louise Maher – Old Head, Kinsale 2006-2012

Louise Maher
“Maher’s practice concentrates upon the inextricable relationship we have to our environment. By focusing on everyday expressions of this connection, she explores perceptions of the encounter. Maher’s approach stems from an appreciation of the historical development of street photography, yet it is also influenced by a typological approach. She values the photograph’s capacity to simultaneously document and picture the world. Her photographic series’ unite aspects of spontaneity and formalization to create a visual language that presents the viewer with space to translate.” From the press release.

Filed under: Photographers, Photography Festivals, Photography Shows Tagged: Blind Field, brighton, Brighton Photo Fringe, Joan Alexander, Louise Maher, Luke AR Hamblin, Origins of Encounter, photo show

MOPLA: Brad Buckman

Featuring photographers that are being celebrated during The Month of Photography in Los Angeles.

I first came to know Brad Buckman’s dynamic off-kilter work at the Julia Dean Alternative Processes exhibitions where he often received top awards. Later I came to know that he is a multi talented photographer, working in the commercial (specializing in portraits and architecture) and fine art field. Brad grew up in an Air Force family and obtained a degree in Electrical and Computer Engineering from the University of Texas in Austin. From there he moved on to more creative uses of technology in design and animation. On a trip to Prague, he discovered his love of image making, and was encouraged to pursue photography as a career. Now married with two children, Brad balances a life filled with observation and exploration.

Brad has opened an exhibition of work from two series, The View and What Becomes at the Arclight in Hollywood. The artist reception will take place on Thursday, April 7, 2011, 6:30 – 9:30pm. The work “explores the adventure of carrying a camera into the world, and the later inward travel in studying the captured bits of shadow and light”. Printed on a special metallic paper, the result are large scale images with a luminous quality. Brad works with multiple exposures and tiltshift effects to create many of his images.

When I visit a place, I often walk for hours on end, both on and off the beaten path. I carry a camera and raise it as I feel compelled, hoping later to share fragments of my experience.

I return to these places through the pictures, weeks or even years later. A particular image will catch my eye and the adventure begins again. I travel inward this time and dig through shadow and light, and find a new excitement, a possibility I had not seen before. In preparing each photograph selected for this exhibit, the structure of colors and tones inspired me, and I allowed the scene and my connection to it to guide my hand.

I like the personal nature of these pictures, and what each means to me. Included are views from a helicopter while traveling back to my future wife; hotel windows on two wedding anniversaries; the hospital window where my son was born; and the Eiffel Tower, the Twin Towers, and other iconic locations that have resonated with me over the years.

Like a memory, each picture has been revisited and re-imagined as my journey with it evolves. Each is an exploration of craft and reflection, and celebrates the truly unique possibilities in every given moment.

The Next: L.A. Photographers 2011

In conjunction with the Grand Opening of the new The Julia Dean Photo Workshops in Hollywood this Saturday, March 26th, two exhibitions will be on hand to greet the guests. The first reception is for Berenice Abbott Winner Christopher Capozziello’s award winning project, For God, Race and Country, and the second is an exhibition of emerging Los Angeles photographers, The Next: L.A. Photographers 2011. The openings are from 7-10pm and it should be a packed house.

Image by Christopher Capozziello

The Next: L.A. Photographers 2011 is a group show featuring the work of emerging Southern California photographers who have been developing their unique and personal visions in contemporary photography. The exhibition features the work of 11 photographers: Ashly Stohl, Bob Bright, Carolyn A. Hampton, Claire Mallett, Dan Shepherd, Lisa Bevis, Shawn Robinson, Stacey Rebekah Scott, Stella S. Lee, Steven C. De La Cruz and Aline Smithson.

Nostalgia, childhood, finding beauty in the mundane, connections with nature and exploring the world around us are the themes that occupy their images. They tell stories of power and weakness, sadness and joy, confusion and clarity. Whether it be through landscape, portraiture, narrative or abstraction the photographers in this exhibition offer a fresh point of view into their respective genres.

Ashly Stohl’s First 2 Hours Free explores the unremarkable corners of parking structures; places we pass on our way to somewhere else, but never really see. The series looks to alter our impressions of these places as cold, gray, and utilitarian, in order to see warm saturated walls of color, and splashes of shadow and light. Her goal is to change the way we walk through our lives, finding beauty in the gritty and mundane details of daily life.

Claire Mallett’s series Wildcat Nudes is an exploration of the female form within the intricate dance between light and shadow. It is a study of not only tone but of texture. This series looks at the nuances of skin against the complexities of nature. The collection of fine art nudes was shot at Edward Weston’s Estate on Wildcat Hill in Carmel, California. By combining a contemporary sensibility with her deep seated love of the classical styling’s of Man Ray, George Hurrell and of course Edward Weston, she created her own voice and vision of the female form.

Lisa Bevis’ work Dog Day Afternoon is part of her ongoing “MYOPIC” series. Her use of forced blur and bright whites eliminates specific details and creates an illustrative effect that enables the viewer to just enjoy the emotion of her images.

Robert Bright’s series, Signs, captures the heyday of classic business signage, reflecting a period of Los Angeles architecture when graphics and neon were the celebrated standard. These iconic signs stand as symbols of Los Angeles history when humor, hope, and Hollywood glitz elevated even the smallest venues. Besides their unique personalities, Robert shows the detail, workmanship and condition of these passing icons of L.A. culture.

Steven C. De La Cruz’s series Within Plastic, is a glimpse of the inner struggle, pain, happiness, confidence and vulnerability behind the manufactured smile. It is a revelation of the artist and an offbeat solution of unmasking one’s true sentiments. Through twisted beauty and captivating sorrow, we can now take a glimpse of what’s behind the counterfeit veil.

The Remnants of Past series is based on the exploration of a recurring dream in abandoned and allegedly haunted spaces in Los Angeles. Carolyn A. Hampton used intensely personal artifacts that have been passed down through generations of her family, and shot the images digitally during several visits to Linda Vista Hospital and Sybil Brand prison. Bringing a particular nightmare to life on film can be an empowering way to conquer fears. Perhaps an image resonates with the viewer because he or she has experienced similar night terrors? Many of us are captivated by the same things, either subconsciously or consciously, because of our shared human experience.

Dan Shepherd’s, Draw Me A Tree, asks the viewer if we remember when we had a stubby crayon in our hands and happily scrawled out our houses, our cats, a blue sky with the sun up in the corner and a tree in the yard? One of the few artistic endeavors that we all have in common is drawing a tree and with this ongoing project Dan will explore our connection to nature by asking people to Draw Me a Tree. But not just any tree, Dan is asking people to partner with him and illustrate the trees that have had some impact in their lives. Draw Me a Tree will help show how intrinsically connected to nature we are through a series of visual tree stories that can be found everywhere in our yards, parks, gardens, forests, and streets.

In Los Angeles, the beach is a stage and the Shoreline series reflects the countless scenes of life waiting to be captured. Stella S. Lee seeks out split seconds of a typical beach day and at the same time strives to portray a sense of timelessness through the use of a Holga camera. From bikini competitions to frolicking along the water’s edge, these photographs document the
inhabitants of today to be eternally memorialized amongst the sun, surf and sand.

Stacey Rebekah Scott’s interest in photographing fire dancers came from the desire to document women who explore unconventional ways of life and expression. Dancing With Fire is an analogy for controlling the uncontrollable, taming that which by nature is wild and unpredictable. What was initially just a simple exploration into photographing subjects at night has turned into a full documentary series on the culture of fire dancing, telling a story of intrigue, beauty, danger and art.

Shawn Robinson’s project, The Light Through Which We All Grow, looks at a society where people spend untold sums of money to look the same, cosmetic surgery is booming, and in every direction we look the norm is encouraged and celebrated. The Light Through Which We All Grow, is an ongoing series of portraits investigating what it means to be unique and how that fits into the world today.

Aline Smithson’s Converging Narratives is a series about the relationship of connected imagery and the new conversation that juxtaposed photographs create. This fusion begins a unique narrative that is a convergence of ideas and associations, open to personal interpretation. The result is something completely separate from the original intent of the image making.

Andre Kertesz: Beneath the Surface Mood.

Andr Kertsz

Beneath the surface mood

A master of early 20th-century photography is given his biggest retrospective

IN A remarkable, if chequered career spanning seven decades, Andr Kertsz pioneered modern photography. Hovering between abstraction, constructivism and surrealism, yet avoiding any specific avant-garde movement, Kertsz, a Hungarian-born migr, was guided by a personal yet rigorous aesthetic. A new travelling show of 300 images, that begins at the Jeu de Paume in Paris, combines a mastery of shadow and light and eye for geometric shapes with a poetic yet unsentimental vision of life. The largest retrospective since the photographers death in 1985, it reveals like no show has done before the power of Kertszs work.

Kertsz photographed for himself rather than aiming for recognition: [The camera] is very much a tool, to express and describe my life, the same way poets or writers describe their life experiences, he explained. Armed with an ICA box camera, the 18-year-old Kertsz in 1912 first set aside the rules of conventional photography when he captured a young man slumbering, slack-mouthed in a Budapest caf in a tight, startlingly modern composition of intersecting diagonals formed by his pose and the newspapers suspended above.

Sleeping Boy is one of many images in the exhibition that show how Kertsz, using his camera as a sketch book, created a new visual language. air flow . His intimate, reportage-style snapshots of fellow- conscripts in the Austro-Hungarian army during the first world warwriting letters, delousing, at the latrines, boxing or courting a peasant girlanticipate 1950s photojournalism. The 1917 photograph (above), taken while Kertsz was convalescing from typhoid, shows a swimmer as he glides gracefully through the water, its surface breaking up with ripples and reflectionsone of the aesthetic themes of the modern movement in the 1920s. The profile and reflection of a second swimmer from 1919cropped and inverted, as surrealists, such as Man Ray, would do a decade later features Kertszs athletic younger brother, Jeno, the model in many of his early photographs.

Born in Budapest to bourgeois Jewish parents in 1894, Andor Kertsz said he never wanted to be anything but a photographer. A dreary job as a clerk at the Budapest stock exchange prompted him to leave Hungary in 1925 for Paris, then the artistic capital of the world. There, he changed his name to Andr and applied his gift for capturing everyday life to producing photographic essays, notably for VU, Frances first illustrated magazine, launched in 1928, using his new 35mm portable Leica.

A highlight of the exhibition are his Paris Portraits in Absence pictures, which include Piet Mondrians Glasses and Pipe, a cropped composition of objects and spaces that captures the essence of the Dutch abstract artists austere modernist spirit. Chez Mondrian, now an emblem of avant-garde photography, shows how Kertsz, using a vase, creates a formal harmony between geometric shapes, light and dark, flatness and the perspective created by the curved staircase in the background. Both images appeared in Kertszs first solo exhibition at the Sacre du Printemps gallery.

Though always a shy man, Kertsz was admired by fellow artists in Paris including Ray, Mondrian, Alexander Calder and a fellow-Hungarian, Laszlo Moholy-Nagy. He came to regret moving with his wife Elizabeth to New York in 1936, tempted by a job offer at the Keystone Agency. His contract proved short-lived. Keystone complained that his images speak too much, while Kertsz resented the lack of artistic independence: I interpret what I feel in a given moment. Not what I see, but what I feel, he once explained.

Unlike Brassa, his worldly, Paris-based compatriot, Kertsz was a poor self-publicist. Hampered by a shaky knowledge of English and a dislike of studio work, he bluntly refused to co-operate with art directors ideas and his commissions dwindled. His 1937 image of a miniature cloud in a clear sky floating next to the brash new Rockefeller Centre in New York reflects his isolation, as does his Melancholic Tulip of 1939, drooping in a solitary vase.

In 1949, Kertsz signed a lucrative, though unsatisfying, contract with House & Garden magazine, which used him to photograph the homes of celebrities such as Cole Porter and Peggy Guggenheim. In private, he took thousands of high-angle images from the balcony of his apartment overlooking Washington Square gardens, as he documented the changing seasons, revealing a particular fascination with snow scenes. One such image in the exhibition shows the formal perfection of the black branches of the trees, with a lone figure silhouetted against the white.

A turning point came in 1963, a year after the 68-year-old Kertsz retired from House & Garden. The photographer was offered a show at the Bibliothque Nationale in Paris. Back in France, he found some old boxes of vintage prints and negatives from his youth in Budapest and Paris that had been kept by his French friend and agent, Jacqueline Paouillac. Kertszs recovered archive at last brought him recognition as a seminal figure in photography. This exhibition, which will introduce his work to a wider public, reveals the full extent of his gifts.

Andr Kertsz is at the Jeu de Paume, Paris, until February 6th 2011 before moving to the Winterthur Fotomuseum, Zurich, from February 26th until May 15th, the Martin-Gropius-Bau, Berlin, from June 11th until September 11th and the Hungarian National Museum, Budapest, from September 30th until December 31st.

Article taken from The Economist.