Judith Joy Ross taking a break from printing to photograph our resident fish Lola with her 8×10 camera.
Archive for the ‘Uncategorized’ Category
Judith Joy Ross
February 1, 2012New Exhibit at Mid-Town Manhattan Library for CEO (Center for Employment Opportunities)
January 27, 2012Great new papers from Awagam Ink Jet Paper (A.I.J.P)
December 7, 2011
|
||
These papers have a wonderful, organic look and feel that I am excited to share with you. We are offering free test prints on each support. You must be available to come in and discuss the papers and provide feedback.Please reply to this email by this Friday, December 9th. Include a one line description of what you would like to print and we will review and contact 10 people.For more information about Awagami: www.Awagami.com
|
Kozo thick has fantastic translucency for screen application| As always, new clients that want to test our printing are offered a free test on one of our standard high quality papers. Just call us to set up an appointment.
Sincerely, |
| Ken Allen
Ken Allen Studios |
Terra Cibus – A commercial photographer turns to a laboratory in this collection of foodie art
November 28, 2011
Driven by recent concerns over the nature and origin of our daily bread, Caren Alpert set out to examine common foods on a more intimate level. Armed with a scanning electron microscope, the photographer undertook Terra Cibus, her largest project to date. Commenting on the equipment used to take her shots, Alpert explains, “This is not something you put on a counter at a lab and you look through an eyepiece. It’s the size of a small bedroom.” Without an academic background in science, Alpert spent the first three months researching the equipment that would be necessary to photograph the microscopic surfaces of foods.
The process was involved, and Alpert had to rely on the help of a technician in Arizona while she curated and sent samples from the Bay Area. Foods need to be dehydrated first and coated with different metals before they are ready, a process that can take 2-6 weeks. When the samples were ready to shoot, Alpert would travel to Arizona. The process of shooting didn’t look anything like a normal photo shoot, in which hundreds of shots can be rattled off in a few hours. It could take a day to get a dozen images, and traversing the surface of the food was painstakingly slow at high magnifications. The sensitivity of the machine was another matter. Situated at the far end of the building from the elevator, Alpert explains, “The slightest bit of movement can affect the machine during a capture.” Working within these constraints, Alpert was able to produce some of the most fascinating food photography in recent memory.
A commercial photographer by trade, Alpert makes her fine art debut with Terra Cibus. “Everything came out of this naturally,” she explains. “I had no idea what I was going to get when I started this project. I honestly had no idea what the scanning electron microscope could produce, so everything from the word ‘go’ was a surprise to me and very serendipitous.” The results are stunning, and often elicit a double-take from the viewer. With fortune cookies that resemble martian landscapes and shrimp tails that look like bird feathers, the images were often surprising to Alpert herself. “When I shot that shrimp tail, obviously I was flabbergasted by what I saw and couldn’t figure out why shrimp have feathers. I was so caught up in this question that I called up the Monterey Bay Aquarium.”
The name Terra Cibus roughly translates as “nurturing from the earth,” and so it’s appropriate that the photographs of sustenance resemble familiar terrains. Alpert recalls reading the children’s science magazine 3-2-1 Contact, which used to have abstracts of everyday life for children to identify with a guess. Her work has a similar effect, relying heavily of the viewer’s subjective experience. Looking at one of her pieces, it’s often hard to classify it as food, art, science or simply technological exploration.
A large portion of the work is on display at the James Beard Foundation in New York, and prints can be purchased by contacting the artist directly through her website.
More images from the show and a description of each of the works in the gallery after the jump
Unpublished Photos Of Boxer Joe Frazier From ‘Life’
November 25, 2011Boxer Joe Frazier, who infamously beat Muhammad Ali in the 1971 “Fight of the Century,” died Monday at 67.
In addition to photographing that legendary fight, 24-year-old John Shearer spent the months before it photographing both contenders for Life magazine. A handful of those photos were published, but most remained completely unseen until recently.
Our news blog has more info on Frazier’s death; and there’s a full gallery of Shearer’s unseen boxing photos over at Life. Here are just a few shots of Frazier in the months leading up to his big fight — and one immediately after.
Via: http://www.npr.org
I’m jealous of joseph egan & hunter thomson
October 12, 2011
Ok, so do you remember when I wrote about the work of Felice Varini? If you do, then these installations might look somewhat familiar. They were done by Joseph Egan and Hunter Thomson, students at theChelsea College of Art & Design. They wanted to create a body of work that explored a “possible relationship between graphic design and architecture”, and while doing so they “discovered the process of anamorphosis as used by the fine artist Felice Varini.” Well, I think it’s safe to say that they did, in fact, nail this assignment… A+!
Via: thejealouscurator.com
Exploring a New, But Cautious, Tripoli
October 3, 2011Moises Saman returned to Libya on assignment for The New York Timesshortly after the fall of Tripoli at the end of August. Since then, Mr. Saman, a nominee for membership in Magnum Photos, has had the rare opportunity to photograph more freely. That was in stark contrast to the first leg of his Libyan assignment spent in a press pool covering the forces loyal to Col. Muammar el-Qaddafi — at times even confined to his hotel room. Lately he has been able to roam through a different, less familiar, side of the country that has captivated him.
“It’s probably one of the main stories of my generation,” said Mr. Saman. “It’s such a historic kind of event that I think the implications are still not understood, to what extent it’s going to change the region. I think I want to keep exploring it and trying to be a part of it.”
James Estrin, David Gonzalez and Kerri MacDonald spoke with Mr. Saman late Thursday evening. Their conversation has been edited and condensed.
Q: The story has really changed in Libya since you returned.
A: It has, yeah. I think for everybody who has been following this conflict, it came as a surprise how quickly this came down. It’s been an intense month, with the fall of Tripoli and all the changes that are happening around here. Even though, as you know, there are still fronts — one in Surt and another one in Bani Walid.
Q: You mentioned before the changes kind of surprised you. How did that effect how you were working?
A: The first couple of weeks, it was very different to work. You kind of had to feel your way around on a daily basis, and obviously move with a lot of caution, especially around Tripoli. Because as I said, this was such a quick surprise that everybody thought that there were still a lot of loyalists around town and this was a strategic lull in the fighting.
Everybody was really scared and that made it very, very difficult to move around. Since then, things have quieted down a lot in Tripoli. Now you’re free to move around pretty much everywhere around town, even though at night there are still sporadic reports of attacks on rebel checkpoints around the city. But it’s become a lot easier.
Moises Saman for The New York Times
Hundreds of displaced people from Tawerga sheltered at an abandoned naval academy in Tripoli.
Q: This new freedom is a lot different from how you first started out in Libya, working with Qaddafi minders.
A: Still every time I think about it, it’s pretty surreal to see this town before and after Qaddafi, as far as all the restrictions that we had and what I spoke about in previous Lens posts, working under Qaddafi’s regime and working with minders. Right now, I’m actually even driving my own car here. (It’s one of the translators’, but I prefer to drive it myself.) Before, we were bused around and very much controlled 24 hours a day.
Q: What do you notice now that you didn’t before?
A: I guess one of the main things is the amount of dissent that was already here in Tripoli against Qaddafi. Before you couldn’t tap into that, because everybody was so scared of talking to foreigners, especially journalists. Overnight, the whole town raised the rebel flag and it was basically like turning a switch on and off. That’s probably what struck me the most in this month, as far as the changes.
Q: Are there any particular areas or themes or subjects that you’re most attracted to now?
A: Well, one subject that I’ve been trying to follow up a lot is the state of the African migrants, as well as other African communities — Libyans of African descent — that have taken a lot of the brunt of this conflict. There are more human stories, trying to find out what’s happening to people now that the rebels are in charge. It’s kind of an unclear situation, as far as where the country’s going to go.
Q: How have you been able to pursue that story now that you have more freedom?
A: This is something that David Kirkpatrick and I have been following even since the beginning. When we first arrived in Tripoli in February of this year, we saw those incredible scenes at the airport of all the migrants. There were thousands of people camped outside of the airport living in what looked like refugee camps.
It seems like not much has changed. They’re not in the airport anymore, but there are at least two or three camps around Tripoli. The rebels seem to think that every black man is either a mercenary or a Qaddafi supporter, so they’re in a lot of danger of being arrested for no reason.
Moises Saman for The New York Times
A worker inside the hull of a Syrian cargo ship delivering wheat in the port of Tripoli.
Q: One of your images is a photograph of a man dwarfed by the hull of a ship. What was going on?
A: That was a Syrian cargo ship that docked in the port here in Tripoli. It was a shipment of wheat they brought into Tripoli. I went to take pictures aboard the ship.
We went to the port because we heard reports that there were ships arriving with cargo, but that they didn’t have enough people to unload them and there was a shortage of workers. The city is not back to 100 percent. The workforce is not out in the street in full yet. There are still a lot of cautious people who feel like they can’t show up for work just yet.
Q: Now that you’ve spent some time in Libya, and this has been an extraordinary experience for photojournalists —
A: — Yes, and a very, very dangerous one, too, as you know —
Q: — Yes. Are there any lessons you take out from Libya?
A: Without sounding too corny, I guess it’s just how terrible war is for the people that are just trying to go on with their lives. And the amount of death and destruction and suffering that this conflict has brought for many people. I don’t know if there’s a lesson as far as my work and approach. But honestly, two good friends of mine died covering this conflict. You always want to keep that with you.
Q: When are you leaving?
A: I’m actually trying to get out of here soon. Maybe sometime next week, I hope. But I plan to continue covering the region. The first elections in Tunisia are coming up.
Q: What are your feelings about leaving Libya?
A: I’m ready for a break. I’m also really eager for some fall weather. I’ve been in this part of the world now for most of the year and the weather doesn’t change much.
Moises Saman for The New York Times
A fax sent from British Intelligence MI6 to their counterpart in the Libyan intelligence service found in a file at the Tripoli home and office of Musa Kusa, the former head of Libyan intelligence who defected to the United Kingdom in March of 2011.
Via: lens.blogs.nytimes.com
Joseph Rodriguez for New York
September 29, 2011Fantastic series shot by Joseph Rodriguez for this weeks New York magazineWelcome to Newburgh, Murder Capitol of New York. Every once in a while I wonder if I should cancel my subscription but stories like this remind me of how much I need to see photos in print — especially when they are, deservingly, spreads and full pages. See the rest, here.
Joseph Rodriguez
Joseph Rodriguez
Joseph Rodriguez
Joseph Rodriguez
OPEN STUDIOS 2011
September 28, 2011The Elizabeth Foundation for the Arts
Meet the artists. Witness the process. See where art is created.
Photos left to right: Hank Willis Thomas in his studio and Yuken Teruya in his studio during Open Studios 2010.
Thursday, October 13, 6-10 pm (opening reception)
Friday, October 14, 6-9 pm
Saturday, October 15, 1-6 pm
Open Studios 2011 is an annual event of the EFA Studio Program that invites the public to come explore and interact with our vibrant and diverse community of 76 contemporary artists.
EFA artists work in a wide range of media and artistic sensibilities, offering a significant slice of contemporary art culture. Rarely can the public visit so many internationally recognized artists working
under one roof in the heart of Midtown Manhattan.
Join us at EFA for Open Studios 2011!
323 W. 39th Street (btwn. 8/9 Ave.)
New York, NY 10018
New York, NY 10018
Click here to get a sneak peek inside the studios of five different Studio Program artists
About EFA Studio Program: Founded in 1998 as a program of the Elizabeth Foundation for the Arts, the EFA Studio Program was created to provide affordable studio space within a community of artists, facilitate career development, and promote public and critical exposure for our members. EFA Studios is housed on eight floors of the EFA building located in Midtown Manhattan’s Fashion District, in close proximity to the city’s primary gallery districts. Members are selected by a jury of respected arts professionals, through a competitive application process. EFA Studios facilitates interaction with dealers, curators, and critics to provide continued development for member-artists. Unique among studio programs
in New York City, EFA Studios is one of the few remaining arts organizations still providing long-term workspace in Manhattan.
ALSO ON VIEW:
“iraqimemorial.org”
THROUGH OCT. 22, 2011 at EFA PROJECT SPACE
iraqimemorial.org, conceived of by media artist Joseph DeLappe, was launched in 2007 as a web-based platform for artists, designers, and architects to propose concepts for imagined memorials to the unrecognized civilian casualties incurred during the war in Iraq. The website was initially created in reaction to the World Trade Memorial Competition website launched in 2004 to commemorate “the thousands of innocent men, women and children murdered by terrorists.” EFA Project Space presents an exhibition of plans and responses selected out of the pool that now exist on the iraqimemorial.org site. The proposal guidelines encourage participants to use a wide range of locations and mediums to create collective memory and unity, drawing upon traditional and expanded ideas of memorial.
“BLACKBURN 20 I 20 ANNUAL MEMBER SHOW”
THROUGH NOV. 6, 2011
OPENING RECEPTION: FRIDAY, OCT. 14, 6:00-9:00pm
Blackburn 20|20 is an exhibition space operated by the Robert Blackburn Printmaking Workshop(RBPMW.) RBPMW 2011 Annual Member Show is an exhibition featuring the work of current RBPMW members showcasing a variety of fine art printmaking techniques: lithographs, etchings, woodcuts, artist books and digital prints.
FASHION DISTRICT ARTS FESTIVAL
Open Studios 2011 is in conjunction with The Fashion District Arts Festival.
Visit their website for more information.
The Elizabeth Foundation for the Arts (EFA) is a 501 (c) (3) public charity. Through its three core programs, EFA Studios, EFA Project Space, and the Robert Blackburn Printmaking Workshop, EFA is dedicated to providing artists across all disciplines with space, tools and a cooperative forum for the development of individual practice.
Open Studios 2011 is supported in part by the New York City Department of Cultural Affairs, Vasari
Classic Artists’ Oils, and many generous individuals.
EFA Studios
A Program of The Elizabeth Foundation for the Arts
323 W 39th Street, 3rd Floor
212-563-5855 x221
www.efanyc.org
studios@efanyc.org
Artists:
Samira Abbassy, Nina Chanel Abney, Amina Ahmed, Miriam-Josephine Alcott, Clytie Alexander, Ebitenyefa Baralaye, Marianne Barcellona, Jaq Belcher, Rhona Bitner, Jimbo Blachly, Martha Burgess, Patty Cateura, Noa Charuvi, Heejung Cho, Cecile Chong, David Collins, Vicky Colombet, Michael Eade, Stella Ebner, Cui Fei, Suzan Frecon, Beth Ganz, Del Geist, Lauren Gohara, Ana Golici, Nicolae Golici, Mahmoud Hamadani, David, Greg Harth, Pablo Helguera, Marietta Hoferer, Alice Hope, Jeff Hoppa, Catherine Howe, Eunjung Hwang, Hong Seon Jang, Susan Jennings, Richard Jochum, Tamiko Kawata, Jane Kent, Jena H. Kim, Noah Klersfeld, Kristian Kozul, Greg Kwiatek, Sarah Leahy, Patricia Leighton, Dan Levenson, Dominic Mangila, Katinka Mann, Morgan O’Hara, Dane Patterson, Gary Petersen, Thomas Pihl, Armita Raafat, Jaye Rhee, Aristides Ruiz, Carolyn Salas, Hilda Shen, Karina Skvirsky, Adam Parker Smith, Howard Smith, Jenny Snider, Suzanne Song, Xin Song, David Storey, Sali Taylor, Dannielle Tegeder, Scott Teplin, Yuken Teruya, Austin Thomas, Hank Willis Thomas, Liselot van der Heijden, Carlos Vega, Marjorie Welish, Bryan Whitney, Saya Woolfalk, Shai Zurim
Click here for more information on participating artists.
EFA Studios
323 West 39th St, 3rd Floor
NY, NY 10018
btw. 8th and 9th Ave.
Hours Tues-Fri., 10-6pm
Contact
212-563-5855×221 studios@efanyc.org
Other EFA Programs:
EFA Project Space
projectspace@efanyc.org
Robert Blackburn Printmaking Workshop
Mental territories
September 23, 2011Busy, busy & busy. You can find a short guest post over on the fototazo blog. Tom asked a group of 50 curators (gallery owners, blog writers, photographers, academics and others actively engaged in photography) to pick two photographers that deserve (more) recognition. I selected the lovelyAwoiska van der Molen & inspiring Lauren Henkins. Then over at this is the what you’ll find an interview with yours truly – Thanks Kate.
I would like to apologize to all the artists who submit their work to UYW. I look at every submission carefully, but currently I have over 367 artists to show in my folder, and simply not enough time. Over time UYW has become a full time job and currently I am looking at different ideas and ways to make it sustainable. Please be patient.
On another note, I have been meaning to share the work of Massimo Cristaldi with you for a while. I think his work goes well with this great quote from T.S. Eliot
We shall not cease from exploration and the end of all our exploring will be to arrive where we started… and know the place for the first time.
Via: blog.unlessyouwill.com
