Friday, November 12, 2010
Thursday, November 4, 2010
Pedro Arieta's 8 x 10 mag
So, this guy walks into the lab the other day ...
photo courtesy of Becky Reeve
and he says: "Is it just me or does it smell like tarter sauce in here?" Dead silence on our end ... I mean, how are you supposed to respond to that?
Anyway, turns out he was delivering Pedro Arieta's 8 x 10 mag, Issue B. A joint publication of Pedro's with Kareem Hamady. It's a beautiful thing to behold: (7) portfolios with somewhere around (39) unbound 8 x 10 prints ... all encased in a custom made shiny black & blue plexi slipcover. Most notably, 8 x 10 mag presents the work of these photographers uncluttered by text or advertising.
Aside from the publishers (Pedro and Kareem) 8 x 10 mag lists David Karwan as Design Director along with the website addresses for the contributors: Noritoshi Hirakawa, Stian Foss, Joe Hume, Todd Matarazzo, Sigurjon Guojonsson and Antonio Ibarra.
Best I can tell, there aren't any pictures of fish sticks in the entire issue.
Visit www.8x10mag.com to find out how to get yours.
photo courtesy of Becky Reeve
and he says: "Is it just me or does it smell like tarter sauce in here?" Dead silence on our end ... I mean, how are you supposed to respond to that?
Anyway, turns out he was delivering Pedro Arieta's 8 x 10 mag, Issue B. A joint publication of Pedro's with Kareem Hamady. It's a beautiful thing to behold: (7) portfolios with somewhere around (39) unbound 8 x 10 prints ... all encased in a custom made shiny black & blue plexi slipcover. Most notably, 8 x 10 mag presents the work of these photographers uncluttered by text or advertising.
Aside from the publishers (Pedro and Kareem) 8 x 10 mag lists David Karwan as Design Director along with the website addresses for the contributors: Noritoshi Hirakawa, Stian Foss, Joe Hume, Todd Matarazzo, Sigurjon Guojonsson and Antonio Ibarra.
Best I can tell, there aren't any pictures of fish sticks in the entire issue.
Visit www.8x10mag.com to find out how to get yours.
Kodak see's the light (and remembers 8 x 10 film) ...
We were a bit surprised when Kodak left cut sheet 8 x 10 off the the menu for their new Portra 400 film ... but all is right in the world again. This was announced during Photo Expo here in New York Last week:
FILM OPTIONS FOR LARGE FORMAT PHOTOGRAPHERS
Continuing its ongoing commitment to film photography, Kodak announced it will offer the new KODAK PROFESSIONAL PORTRA 400 Film, first introduced at Photokina, in 8x10 format. The new film achieves the finest grain structure available in a 400-speed color negative film, by incorporating KODAK VISION Motion Picture Film, plus Antenna Dye Sensitization in the cyan and magenta emulsion layers.
Thank you good people at Kodak ...
Thursday, October 21, 2010
Thursday, October 14, 2010
Thursday night openings (Rain Report): Tim Barber, Danny Clinch
Tim Barber: Burning Bridges
Nike Bowery Stadium, 7-9 pm, 276 Bowery, NYC
Now that I've been to the Nike Bowery Stadium and have described the night to a bunch of different people I've found myself on the dumb end of the question: What exactly is the Nike Bowery Stadium? I say "dumb end" because I actually haven't been able to answer. So like any smart guy would do, I looked them up online and checked the "about" link ... here's how Nike (I presume) calls it:
I don't know if "always open" translates into 24 hours ... and there's still a good bit of "Huh?" in there for me. For instance, they don't mention that there's a retail component to the whole thing and yet, I found myself purchasing a a pair of these?
Anyway, the real reason we were there was to revel in the fantastic display of b+w images shot by Tim Barber called Burning Bridges (please, don't ask) ... the important thing is, the work looks great!
Tiim Barber (left)
Danny Clinch: From Darkness to a Dream
Morrison Hotel Gallery, 7pm, 124 Prince Street, NYC
The Moment (The New York Times / T Magazine), recently caught up with photographer, harmonica player and filmmaker, Danny Clinch, whose images can be seen at the Morrison Hotel Gallery in SoHo from Thursday.
Read the interview by clicking here:
As mentioned above, it rained Thursday night ... pretty hard, pretty much all night, in fact. Despite this, here's what the Danny Clinch opening at Morrison Hotel looked like by the time I arrived:
Jammed, from one end ...
to the other.
Danny, mobbed.
Nike Bowery Stadium, 7-9 pm, 276 Bowery, NYC
Now that I've been to the Nike Bowery Stadium and have described the night to a bunch of different people I've found myself on the dumb end of the question: What exactly is the Nike Bowery Stadium? I say "dumb end" because I actually haven't been able to answer. So like any smart guy would do, I looked them up online and checked the "about" link ... here's how Nike (I presume) calls it:
Nike Stadiums are new multi-purpose destinations in Berlin, London, Milan, New York, Paris and Tokyo. Stages for inspired performers, labs for innovative expressions, spaces where stories are told and others are written.
We are always open, always on.
Anyway, the real reason we were there was to revel in the fantastic display of b+w images shot by Tim Barber called Burning Bridges (please, don't ask) ... the important thing is, the work looks great!
Tiim Barber (left)
Danny Clinch: From Darkness to a Dream
Morrison Hotel Gallery, 7pm, 124 Prince Street, NYC
The Moment (The New York Times / T Magazine), recently caught up with photographer, harmonica player and filmmaker, Danny Clinch, whose images can be seen at the Morrison Hotel Gallery in SoHo from Thursday.
Read the interview by clicking here:
As mentioned above, it rained Thursday night ... pretty hard, pretty much all night, in fact. Despite this, here's what the Danny Clinch opening at Morrison Hotel looked like by the time I arrived:
Jammed, from one end ...
to the other.
Danny, mobbed.
Monday, September 20, 2010
A few 2010 Fall shows (meaning, the ones we've been involved with, anyway)
Sebastiaan Bremer: Invasoes Holandesas
Galeria Leme, Sao Paulo, Brazil, September 16 - October 30, 2010
Invasos Holandesas no Rio de Janeiro, 2010
42 x 48 acrylic and ink on digital c-print
Sebastian Bremer's first solo show in Sao Paulo reflects his interest in Dutch / Brazilian 17th century history. Entwined with references to early Dutch painters, politics and the passage of time; these multi-image digital c-prints are made all the more complex by Bremer's meticulous surface renderings in acrylic and ink ... a dense eyeful, to say the very least.
Janaina Tschape: Acqua Alta
Sikkema Jenkins & Co. September 10 - October 16, 2010
Janaina Tschape: Acqua Alta #1, 2010
40 x 50 optical c-print, non-glare plexi face mount
Tschape's multi-disciplinary exhibition at Sikkema-Jenkins includes a series of 40 x 50 conventionally enlarged c-prints, face-mounted with P-99 non-glare plexi.
Tomaz Dozol: All Together Now
NP Contemporary Arts Center (formerly Envoy Gallery)
Wednesday, September 15 One Night Only! ...yes, unfortunately, you missed it already.
20 x 24 optical c-prints
A one night show? Hell, we almost missed it ourselves ... but that's not to say that we didn't spend a lot of time working out conventional darkroom solutions with Thomas for his new series All Together Now.
August Pross (foreground) sorts through it all with Thomas Dozol at LTI/Lightside
testing along the way
Galeria Leme, Sao Paulo, Brazil, September 16 - October 30, 2010
Invasos Holandesas no Rio de Janeiro, 2010
42 x 48 acrylic and ink on digital c-print
Sebastian Bremer's first solo show in Sao Paulo reflects his interest in Dutch / Brazilian 17th century history. Entwined with references to early Dutch painters, politics and the passage of time; these multi-image digital c-prints are made all the more complex by Bremer's meticulous surface renderings in acrylic and ink ... a dense eyeful, to say the very least.
Janaina Tschape: Acqua Alta
Sikkema Jenkins & Co. September 10 - October 16, 2010
Janaina Tschape: Acqua Alta #1, 2010
40 x 50 optical c-print, non-glare plexi face mount
Tschape's multi-disciplinary exhibition at Sikkema-Jenkins includes a series of 40 x 50 conventionally enlarged c-prints, face-mounted with P-99 non-glare plexi.
Tomaz Dozol: All Together Now
NP Contemporary Arts Center (formerly Envoy Gallery)
Wednesday, September 15 One Night Only! ...yes, unfortunately, you missed it already.
20 x 24 optical c-prints
A one night show? Hell, we almost missed it ourselves ... but that's not to say that we didn't spend a lot of time working out conventional darkroom solutions with Thomas for his new series All Together Now.
August Pross (foreground) sorts through it all with Thomas Dozol at LTI/Lightside
testing along the way
Wednesday, September 15, 2010
2010 WIP - LTI / Lightside Individual Project Grant winners
We are pleased to announce the recipients of the 2010 WIP-LTI/Lightside Individual Project Grant and Kodak Materials Grant.
The $3000.00 prize goes to Angela Strassheim for her series Evidence and the $1000.00 Kodak Materials grant goes to Tiana Markova-Gold for her project Supporting the Human Rights of Sex Workers in Macedonia.
LTI / Lightside would like to acknowledge the considerable efforts of Amy Elkins and Cara Phillips of Women In Photography, Amani Olu and Jon Feinstein of Humble Arts Foundation and last but not least our astute guest judge, Karen Irvine of the Museum of Contemporary Photography, Columbia College, Chicago.
Angela Strassheim: Evidence.
2010 WIP - LTI / Lightside Individual Project Grant winner
Evidence #1, 2009
Evidence: Assorted Kitchen Knives, #2, 2009
Angela's project was borne of her insider's knowledge of professional forensic photography: she holds a Forensic & Biomedical Photography Certification from the Metro-Dade County, Forensic Imaging Bureau in Miami, Florida. It was through her experience in the field using the protein revealing chemical agent "Blue Star" (which has been flagrantly aggrandized on numerous detective TV dramas) that she began to imagine Evidence as a fine art series.
Please click on the above images to see and read more about Evidence.
Tiana Markova-Gold: Supporting the Human Rights of Sex Workers in Macedonia
2010 WIP - LTI / Lightside Kodak Materials Grant winner
Tiana Markova-Gold is a freelance documentary photographer based in Brooklyn. Since the spring of 2007 she has been working on an in-depth project about the lives of women in prostitution in New York City. In 2009 she traveled extensively through Asia, Nigeria and Brasil documenting social services projects with a particular focus on women and girls.
In the spring of 2009 Tiana was contacted by WITNESS, an international human rights advocacy organization regarding the possibility of a project about sex workers in Macedonia. WITNESS introduced Tiana to Healthy Options Project Skopje, a Macedonian organization working to empower sex workers and in March 2010 she made her first trip to Macedonia to begin photographing and recording their stories.
Kristina, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Prostitution is often referred to as “the oldest profession in the world”, but is also recognized by some as one of the oldest forms of oppression. The buying and selling of human flesh for the worldwide sex industry is now the third largest money-making venture in the world after illegal weapons and drugs. Advocacy for the human rights of people in prostitution is largely divided into two camps; those who believe prostitution, by its very nature, is exploitative and cannot be viewed as a valid form of employment; and those who believe it can be legitimate work when done with consent and respect in a safe environment. Unfortunately neither side seems able to acknowledge the validity of the other perspective or recognize the common goal of protecting the basic human rights of all people in prostitution.
In Macedonia, as throughout the world, sex workers are pushed to the margins of society by a combination of prejudice, discrimination, and violence. Sex workers inhabit a particularly vulnerable position in Macedonian society, facing harassment and violence not only from their clients and pimps, but also from law enforcement officials and other authorities. These abuses include illegal detention, compulsory testing for sexually transmitted diseases, and rape, which are compounded by the substandard enforcement of law and lack of access to health and support services. Adding to these challenges are the risks of HIV/AIDS and other sexually transmittable infections, drug addiction, a hostile public attitude and mass-media harassment. Because of the tremendous negative stigma connected to prostitution in Macedonia, most sex workers are living double lives, concealing the fact that they are sex workers from their families and the communities in which they live. A disproportionate number of street-based sex workers, those most vulnerable, are members of the Roma community, Macedonia’s most harshly discriminated against ethnic minority group. Gay and transgender sex workers are often targeted and further marginalized because of their sexual or gender orientation.
It is Markova-Gold's hope that this project will be a source of support and empowerment for sex workers by providing a unique opportunity for them to speak about their lives in an honest, realistic, and most importantly, a safe and respectful way. In challenging public opinion, she believes that the first and most important step is for sex workers to recognize and change internalized negative beliefs about themselves - and through documenting their lives she hopes to counter the de-humanizing imagery that is so prevalent in mainstream media by asking the viewer to question their own preconceptions. The goal not being to provide answers but to pose questions and provoke dialogue.
Suto Orizari, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Skopje, Macedonia, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Skopje, Macedonia, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Dunja, Skopje, Macedonia, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
More of Markova-Gold's images and story are forthcoming on the Women in Photography website beginning October 7th, 2010.
The $3000.00 prize goes to Angela Strassheim for her series Evidence and the $1000.00 Kodak Materials grant goes to Tiana Markova-Gold for her project Supporting the Human Rights of Sex Workers in Macedonia.
LTI / Lightside would like to acknowledge the considerable efforts of Amy Elkins and Cara Phillips of Women In Photography, Amani Olu and Jon Feinstein of Humble Arts Foundation and last but not least our astute guest judge, Karen Irvine of the Museum of Contemporary Photography, Columbia College, Chicago.
Angela Strassheim: Evidence.
2010 WIP - LTI / Lightside Individual Project Grant winner
Evidence #1, 2009
Evidence: Assorted Kitchen Knives, #2, 2009
Angela's project was borne of her insider's knowledge of professional forensic photography: she holds a Forensic & Biomedical Photography Certification from the Metro-Dade County, Forensic Imaging Bureau in Miami, Florida. It was through her experience in the field using the protein revealing chemical agent "Blue Star" (which has been flagrantly aggrandized on numerous detective TV dramas) that she began to imagine Evidence as a fine art series.
Please click on the above images to see and read more about Evidence.
Tiana Markova-Gold: Supporting the Human Rights of Sex Workers in Macedonia
2010 WIP - LTI / Lightside Kodak Materials Grant winner
Tiana Markova-Gold is a freelance documentary photographer based in Brooklyn. Since the spring of 2007 she has been working on an in-depth project about the lives of women in prostitution in New York City. In 2009 she traveled extensively through Asia, Nigeria and Brasil documenting social services projects with a particular focus on women and girls.
In the spring of 2009 Tiana was contacted by WITNESS, an international human rights advocacy organization regarding the possibility of a project about sex workers in Macedonia. WITNESS introduced Tiana to Healthy Options Project Skopje, a Macedonian organization working to empower sex workers and in March 2010 she made her first trip to Macedonia to begin photographing and recording their stories.
Kristina, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Prostitution is often referred to as “the oldest profession in the world”, but is also recognized by some as one of the oldest forms of oppression. The buying and selling of human flesh for the worldwide sex industry is now the third largest money-making venture in the world after illegal weapons and drugs. Advocacy for the human rights of people in prostitution is largely divided into two camps; those who believe prostitution, by its very nature, is exploitative and cannot be viewed as a valid form of employment; and those who believe it can be legitimate work when done with consent and respect in a safe environment. Unfortunately neither side seems able to acknowledge the validity of the other perspective or recognize the common goal of protecting the basic human rights of all people in prostitution.
In Macedonia, as throughout the world, sex workers are pushed to the margins of society by a combination of prejudice, discrimination, and violence. Sex workers inhabit a particularly vulnerable position in Macedonian society, facing harassment and violence not only from their clients and pimps, but also from law enforcement officials and other authorities. These abuses include illegal detention, compulsory testing for sexually transmitted diseases, and rape, which are compounded by the substandard enforcement of law and lack of access to health and support services. Adding to these challenges are the risks of HIV/AIDS and other sexually transmittable infections, drug addiction, a hostile public attitude and mass-media harassment. Because of the tremendous negative stigma connected to prostitution in Macedonia, most sex workers are living double lives, concealing the fact that they are sex workers from their families and the communities in which they live. A disproportionate number of street-based sex workers, those most vulnerable, are members of the Roma community, Macedonia’s most harshly discriminated against ethnic minority group. Gay and transgender sex workers are often targeted and further marginalized because of their sexual or gender orientation.
It is Markova-Gold's hope that this project will be a source of support and empowerment for sex workers by providing a unique opportunity for them to speak about their lives in an honest, realistic, and most importantly, a safe and respectful way. In challenging public opinion, she believes that the first and most important step is for sex workers to recognize and change internalized negative beliefs about themselves - and through documenting their lives she hopes to counter the de-humanizing imagery that is so prevalent in mainstream media by asking the viewer to question their own preconceptions. The goal not being to provide answers but to pose questions and provoke dialogue.
Suto Orizari, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Skopje, Macedonia, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Skopje, Macedonia, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
Dunja, Skopje, Macedonia, from Supporting the Human Rights of Sex Workers in Macedonia, 2010
More of Markova-Gold's images and story are forthcoming on the Women in Photography website beginning October 7th, 2010.
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