A dozen years ago, photographer Julia Dean changed my life by asking me to teach at her photography school, The Julia Dean Photo Workshops in Los Angeles. Over the past thirteen years, Julia has taught hundreds of classes, thousands of students, and exposed the Los Angeles community to photographic luminaries and educators such as Keith Carter, Duane Michals, Mary Ellen Mark and many others too numerous to count. Her school has created a photographic community in Los Angeles, a place to share portolios over a glass of wine, a place to hear lectures, experience wonderful exhibitions, and take a broad array of classes.
La Fenêtre is a new arts space in the heart of Montpellier that specializes in architecture and design. Their current exhibition focuses on an unknown aspect of the work of the French photographer Bernard Plossu: his films, the still pictures taken from his films, and his commissioned shots of architecture. 8 / Super 8 features three of his films, 67 stills and a book. The films are: Michèle (1962-63), a 7-minute black-and-white documentary; On the road (1966), a 30-minute black-and-white documentary; and Le voyage Mexicain (1965-66) a 30-minute black-and-white documentary with a soundtrack by Joaquim Plossu.
Photo Collage: Vincent Marcone Editors Note: It’s a pleasure to include this interview with Katerina Cizek. Her 360 degree web documentary Out My Window is one of the most ambitious multi-media projects I have seen this year.
Those of you who remember (and those of you who do not), last year I mentioned I would not enter into the ‘best of’ bonanza before proceeding to do just that by selecting 5 photobooks that had stood out to me in the ‘B*@t of 2011′ post.
Over the last decade, as the contemporary art world has grown to planetary size — more galleries, more fairs, more art-selling Web sites, bigger museums, new biennials almost by the month — it has sometimes seemed as if a new kind of cultural figure has been born as well: the international curator, constantly in flight to somewhere.
More than three decades ago, Bill Jay jotted some words in the left-hand margin of a print from a photograph he'd snapped of me and my wife Evelyn at an SPE conference (I discovered the image itself only recently on a website devoted to Bill)*: "Jim is now editor of the photo-magazine Camera Arts. (I was amazed to find that I was listed as contributing editor although I had never been asked.) Jim is a refreshing change from the typical academic artist—he is irreverent, opinionated, direct, and speaks simple English. I like his writing for the same reason—I can understand it, and I agree with most of his opinions. I only wish he would reply to my letters......"
Very proud to see the Photobook Club’s digital publication ‘Ken Schles, Invisible City; A Digital Resource’ make it onto Martin Brinks ‘Top Digital Photobooks‘ list last week and now very happy to read a great little review of the publication.
photo-eye is happy to present our Best Books of 2012. This is the time of year when nearly every publication comes out with at least one year-end list. Some people love them, some hate them, and their value is nearly always up for debate, yet they seem irresistibly interesting. What we strive for with our list is a little different from most, and this year we thought we'd clarify our process
Alexey Titarenko has photographed Saint Petersburg since he was 8-years-old. In fact, he says, he has dedicated his whole life to the city. Titarenko sees his photographs as reflecting the history of his city, and Russia, over the past 20 years.
“Through the prism of my native city, I attempt to show events that occurred not only here, but throughout the country – the changes, the catastrophies, and the human tragedies, which have swept this city and the people of this land.”
The Disappearance of Darkness: Photography at the End of the Analog Era by the Canadian photographer Robert Burley is a carefully produced and edited collection of photographs that represent the collapse of the analog photographic industry. Over a period of a decade, Burley traveled the world to photograph once powerful companies such as Kodak, Polaroid, Ilford and Agfa spiraling into perpetual decline.
have often stated that I consider Street Photography to be the least commercial form of image making and yet I have made a good living for over twenty years from having a portfolio of Street Photographs. I thought I would explain a little about how I have managed to translate what I do on the streets into a commercially applicable form.
Enough is as good as a feast -Proverbs 2:11 I’ve been sitting at my desk all morning starving myself in preparation for our big feast tonight. It’s time for our annual Christmas Extravaganza, Gala at Carmine’s in New York City.
While curating my photobook exhibition for Fotografia di Roma last Fall, while exploring the theme of Work, one of my disappointments was the late arrival (at least too late for me to include in the exhibition) of Brian Finke’s photobook Construction. Finke explores, as he has done with his previous project, both sides of work; as a verb, to work, and the concept of work as a noun, as the work (you do).
In 1929 Mehemed Fehmy Agha (1896-1972) or Dr. Agha as he was more frequently addressed, arrived in New York, to take up the post of art director at Vogue magazine, were he ‘immediately broke through the restrictive antiquarian ideas of page layout, photography and illustration.
I've been on the road since September, visiting photo festivals across the country and I've been thinking a lot about the experiences and the photographers I have met and wanted to share some thoughts. I have to say, it's an amazing community, filled with good will, curiosity, passion, and really, really good people. I think there is something special about those who use a visual language, who are reinterpreting the world close-up and far away. I left each event filled up with friendships, with images, with experiences that make this journey a richer one.
This series — shot in the fall of 2011 in a temporary food court set up inside Beijing’s Olympic Park — reveals a visually and viscerally overloaded fast-food culture that may make some mouths water and other bellies ache.
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