Betsy Schneider is a photo-based artist who lives and works in Tempe, Arizona and Sharon, Massachusetts. She is fascinated by photography and uses it to better understand such complicated things as time, decay, the body, childhood, culture, and relationships. Her work has been shown internationally and is in several collections including the Nelson-Atkins Museum, the Museum of Fine Arts Houston and the Museet for Fotokunst in Denmark. A 2011 Guggenheim Fellow, she is currently working on her fellowship project Triskaidekaphobia, portraits and video interviews with 250 thirteen year olds. She is eager to include a wide geographic and demographic in this project and urges anyone with connections to thirteen year-olds interested in participating to contact her. She is an Associate Professor at Arizona State University.
What’s going on this Thursday night in NYC? Well, only The Greatest Party in the World– or that’s what Resource Magazine is calling the launch party for their new online video platform, ReTV. The photography magazine’s new television launch will feature video content from interviews with photographers to product demos, documentaries and photo related current events.
Parodying the familiar Dos Equis “The Most Interesting Man in the World,” marketing campaign, the party will be hosted by the fictitious “Greatest Photographer in the World” this Thursday, March 10, 2011 from 6pm-11pm.
For more information about the event and to RSVP: http://www.keepshootingmyfriends.com/
In this interview, British photographer Adrian Wood presents the spirit of his work, his influences, and his interpretation of portraiture and stage photography. Wood centers his work on people, their experiences, and their lives.
reGeneration2: tomorrow’s photographers today exhibition and accompanying publication, is presented by Aperture Foundation from January 20 through March 17, 2011, in collaboration with the Musée de l’Elysée in Lausanne, Switzerland, and with the support of Pro Helvetia and the Consulate General of Switzerland in New York.
Stay tuned for more video interviews with artists from this exhibition to be featured on the blog!
View previous interviews with curators William A. Ewing and Nathalie Herschdorfer here and artists Geoffrey H. Short and Kristoffer Axen.
The Digital Journalist has a great compendium of the impact of photojournalism in HIV-AIDs, including several video interviews with great photographers like John Dugdale, Alon Reininger and Ingrid Sischy, and a large number of assays describing the work of many more photographers.
I love the assay by Scott Thode:
My AIDS work began in 1985. I watched about 40 individuals pass away, over the course of two years, down at Bailey House in New York’s Greenwich Village, the first program to offer emergency and permanent housing for people with AIDS. Then in 1987, I was going up to the Whitney Biennial and found this woman on the street outside. Her name was Venus. She was homeless, a former dancer, an IV-drug user. And she was positive. As time passed, we became best friends, almost like brother and sister. Our families got to know each other. One night in 1993, we were hanging out. It was hot. She ran into the spray of a fire hydrant. She was only in there for 30 seconds. I had maybe five, six frames.
It is my pleasure to introduce here Contact Editions, a new organization that is selling prints by emerging photographers at very affordable prices, a great choice for anyone interested in collecting original prints at reasonable cost. The most recent work featured by Laura Pannack, Young Love, is quite extraordinary.
Besides selling prints, Contact Editions also publishes video interviews (see above) with the photograhers providing a nice context to the significance of the photograph as view by the photographer.
Our aim at CONTACT is to create a community around photographic talent, to support photographers in the ongoing progress of their personal work. Contact will support photography at all levels; providing opportunities for those already producing work to self-fund through the sale of editioned prints, and a hand up to those embarking on their first personal projects, through informal crits, online advice and competitions. We see CONTACT as a way of creating a network and community between photographers, galleries, collectors and image lovers.
Go and take a look as well to their blog where you will find very interesting work and commentaries.
Collection photographer Ashley Gilbertson is featured in a number of online media pieces and articles of the New York Times and NYT Magazine (see below for links). As a war conflict photographer since 2003, Gilbertson has captured countless poignant, intense, and challenging images of soldiers, civilians and moments of life and death. Gilbertson first started photographing conflict at the age of 23, after feeling that films of war correspondence or wartime did not give him any sufficient understanding of the world of war or the emotional toll taken on those that experience it.
Ashley Gilbertson, Untitled from 1/8 Bravo Marines during the November 2004 battle for Falluja, 2004, MoCP Collection
In the several NYT features, Gilbertson describes what he sees as his responsibility as a photographer to help his viewers understand what soldiers go through during wartime and to express that the difficulty of war is not over when soldiers return home. This feeling of responsibility was instigated by the 2004 death of the marine soldier, Billy Miller, who was assigned to protect the photographer as he worked to capture images of victims from the Falluja attack. Gilbertson is particularly concerned with expressing emotional and psychological turmoil, subjects like PTSD (post traumatic stress disorder), and other internal or psychological topics that do not lend themselves to photography.
Gilbertson argues that his “soldiers’ bedrooms” photography, shown in this slideshow and highlighted in this article, is war photography. The images show what we, as a nation, have sacrificed in going to war. He explains that this project is the body of work that has reached closest to his goal of explaining what war is to people who have not seen what he has seen.
Some images in the slideshows and video interviews are intense and difficult. Please view them before sharing with others.
Watch the soldiers’ bedrooms slideshow.
Read the soldiers’ bedrooms article
Watch a video interview with Gilbertson concerning his goals and recent body of work.
Watch another slideshow of other images narrated by Gilbertson.