The deadline for the 2007 PDN Annual is 12/20, but if you want to pay a bit more you can submit later (up to 1/15/07). Winners will be published in the magazine; to see a gallery of 2006 winners, check out this link. There are a wide range of submission categories, so be sure to review the guidelines thoroughly. Good luck!
Archive for December, 2006
Writer and photographer Sara Terry, founder and President of The Aftermath Project recently announced the recipients of the inaugural “Aftermath Grants,” the funding for which was raised in great part by photographers donating their prints to an benefit auction held specifically for this purpose – in other words, photographers helping to support the projects of other photographers. JIM GOLDBERG of the US was awarded $20,000 to continue a story called “The New Europeans.” WOLF BOWIG of Germany was awarded $15,000 to continue “The Forgotten Island: Narratives of War in Sierra Leone.” The three finalists were ANDREW STANBRIDGE of the US who proposed documenting people affected by the reconstruction in Laos; ASIM RAFIQUI, a Kasmiri photographer living in Sweden proposed documenting the effects of war in his native Kasmir, and PAULA LUTTRINGER, an Argentinean photographer who lives in France proposed a survey of locations in Argentina where mothers of missing children were abducted between 1976 and 1983. The work of all five photographers will appear in a book produced by Mets & Schilt, Aperture and The Aftermath Foundation in the fall of 2007.
The branding for The Aftermath Project includes this important subtitle: WAR IS ONLY HALF THE STORY.
Sara’s long-term personal project “AFTERMATH: Bosnia’s Long Road to Peace” was published in 2005 and also exists in an excellent website, www.bosniaaftermath.com. One of the things I admire about Sara, and this website, is her strong desire to encourage viewers to learn more about this issue as well as to credit those organizations which have helped her produce the project and continue to broaden awareness about her subject. Support this important project.
As a photographer, being responsible to your SUBJECT is a natural for Sara. Being responsible to her PEERS can be added to that statement, as evidenced by the good work her ground-breaking foundation is doing for photographers.
I have confirmed with the staff at SFCP that the deadlines of 12/15/06 is a POSTMARK DEADLINE, so those of you that are not sure if you can make those deadlines, know that you can mail them on the 15th and they will be considered for the Project Competition, the Singular Image and for consideration of attending Review Santa Fe 2007. Good luck to all of you!
Lately, I find myself observing how people look at exhibitions, how they interact with the objects, the amount of time they will take to look/read… ultimately, I’m facinated by how we LEARN. Exhibition design is changing – must change – to reflect new audiences, their broad interest in culture and how the best absorb information. The static exhibition is giving way to the exhibition experience, and when designed by innovative thinkers, the sky is the limit.
The fall issue of the UK-based EYE Magazine has a terrific article by designer Abbott Miller, whom many of you will know as a Partner at Pentagram Design, editor/designer of 2wice Magazine, the designer who re-designed the look of the Ansel Adams Publishing Rights Trust’s calendars, posters and note cards as well as the identity for the “Ansel Adams At 100″ exhibition and publication. One of my favorite exhibition identities and installations was the brilliant work he did with video artist/author Ann Fessler for her exhibition “Everlasting” at MICA.
Miller has written a facinating article called “From Object To Observer” for Eye that I urge you all to read. I quote here the first paragraph: “Exhibition design deals with the dispositio of objects in space: their conceptual and physical relationship to one another and to the observer. Coordinating this complex interaction makes the exhibition designer a choreographer – of objects, images, texts and people. How we behave in an exhibition, what we feel permitted to do, and how we interact with what is on discplay are all aspects of design. Exhibitions blend the complex factors of architectural space with the narrative concerns of book and magazine design.”
Read this article and become an observer as well as a viewer when attending exhibitions of all sorts – I hope it will help you address how to present your work to your target audience.
Yesterday’s New York Times Magazine issue is one my favorites, a year-end blockbuster to stretch the imagination. “A YEAR IN IDEAS” is essential reading, with 74 ideas arranged from A-Z. One of my favorites is SPEED-REDUCING ART, about public art with as strong sense community purpose. Enjoy every page, and don’t miss the VIDEO!
The Photo-Eye Booklist, the international magazine about photography books, is now available nationally at all Barnes & Noble and Borders stores! The current issue has an image by Michael Kenna from his beautiful new book Hokkaido (Nazraeli Press, 2006), as well as surveys of new photography books, reviews by an impressive roster of contributing authors and the continuing column “Publishing the Photographic Book” which I co-author with Photo-eye Booklist editor Darius Himes. If you love the book format, and dream of a book of you photographs at some point in your career, subscribe today, or seek it out locally. You won’t be sorry you did!
Many photographers comment that if their work didn’t get accepted to an annual competitions, they won’t apply again… or if they didn’t get into Review Santa Fe last year, they won’t try again. Two points on this: first, judging panels are rarely if ever repeated – rather, there is a new roster of industry professionals each competition, grant, exhibition competition. DO try again. Fresh eyes (and more mature work on your part) may make the difference between acceptance or rejection. And, secondly: many of the most important grants given to artists are judged by an ANONYMOUS slate of NOMINATORS (No Strings Foundation, United States Artists among others). How is your work to be nominated if you don’t get it out there? Submitting to juried competitions is an excellent way to begin the dialogue about you and your work. Photographer Alec Soth was the first recipient of the Santa Fe Prize, an annonymous nominations procedure brought his work to the eyes of the final Judge; winning this grant proved pivotal in morning his career forward in many ways, not the least of which was attendance at Review Santa Fe where he met Nathan Benn who suggested he apply to Magnum Photos… and as they say the rest is history.
We can’t talk about your work if we don’t see it.
Please carefully consider which juried events are worth your investment of time and money, edit and sequence your entries carefully, and write well about your work.
I believe I speak for my professional colleagues when I say “we look forward to seeing your work!”
Important deadline approaching: The Santa Fe Center for Photography’s 12/15/06 deadline is for three (3) significant competitions. Each submission can be viewed by judging teams for all three competitions, for ease in submission. Artists may submit more than one body of work for consideration, but my should be SEPARATE SUBMISSIONS. View the submissions guidelines and the FAQ’s to aid in your submission procedure. THE FOLLOWING COMPETITION SUBMISSIONS ARE ALL DUE 12/15/06:
1) PROJECT COMPETITION is judged on a complete body of work (20 images) and artist statement. Judges this year: Charles Guice of the Charles Guice Gallery, Kathy Ryan, Director of Photography at the New York Times Magazine and Debra Klochko, Director of the Museum of Photographic Arts (MoPA) in San Diego. Previous winners: Julie Blackmon, Dave Anderson, and Maggie Taylor. FAQ’s
2) REVIEW SANTA FE is the only JURIED Portfolio Review event in the country. Artists are encouraged to submit mature bodies of work, and an artist statement for consideration of acceptance; event is held mid-May in Santa Fe, New Mexico. Again, you may submit more than one body of work, buy submit as separate applications; a team of three industry professionals will review the applications to determine which may attend and have the opportunity to meet individually with curators, gallerists, photo editors, art directors, publishers and more who can make a difference in your career. Review Santa Fe should be a goal for you to attend one day, without question. Participation will move your career forward. FAQ’s
3) SINGULAR IMAGE – you may also submit a selection of random images (not a full body of work) for consideration of judges Brooks Jensen, Editor of Lenswork Magazine (for B/W), and Miriam Leuchter, Managing Editor, Popular Photography and Imaging Magazine (for Color). FAQ’s
The process of submitting to these important competitions will challenge you to take a hard look at your work, and to write an clear statement about your bodies(s) of work. Be mindful of your sequencing, too. You will see your work projects more clearly once you embark on this journey. Give it your best effort. The judges will take their roles responsibly; your work will be seen and your words will be read.
the TCC Photo Gallery has posted a podcast conversation between curator/author Roy Flukinger and photographer/author Dan Burkholder, both wise and delightfully humorous. Produced for the opening of Dan’s exhibition “Shadows and Loss” at the TCC, this is the fourth in the gallery’s growing series of podcasts available free to the public. The full roster of topics discussed and artists interviewed to date (including Sonia Katchian) is at this link.
Last night I attended this panel at ICP, part of the educational programming with the exhibition ECOTOPIA: The Second ICP Triennial of Photography and Video (on view through January 7, 2007. Moderated by ICP Curator Brian Wallis, panelists included artist/author Clifford Ross, Andrew Revkin of the NY Times, Sanjayan Muttulingam, Lead Scientist, The Nature Conservancy. The dialogue was facinating, the realities of the state of our world frightening. The message was clear – not only can each of us make a difference, but artists can help make delivery of this message to the masses a reality, encouraging artists to collaborate with the scientific community. The creative community can make a great contribution by helping scientists express facts “artfully.” Andrew cited as an example – artists can envision the concept of challenging concept of extinction, which will speak more loudly to the public than facts and figures. One artist using photography to do just this is Stephen Harrison and his forthcoming multi-faceted traveling exhibition experience “Planet Earth.” Stephen travels the globe to capture the elements which then are dramatic and expertly crafted composite photographs, serving as visual representations for project components “Origins,” “Life” and finally the “Impact of Man.” The images are stunning and the message essential.
As Sanjayan concluded last night, we as individuals and as a society are fundamental to shaping the destiny of the planet. Our children will be trapped if we don’t. And our parents didn’t know of the problems ahead. It is our time, it is our turn. Act responsibly, spend responsibly, invest responsibly in the future.