Archive for December, 2007

HIROSHI WATANABE to Lecture in Portland Oregon, January 5

In conjunction with his exhibition “Ideology in Paradise” opening January 4th at Newspace Center for Photography in Portland, Hiroshi Watanabe will be giving a public lecture on Saturday, January 5th at 1:00 p.m. For details call (503) 963-1935.

The exhibition will remain on view through February 3rd.

To view the complete series, click here to go view the work on Watanabe’s website.

Watanabe was the winner of the 2006 Critical Mass Book Award; the resulting title “FINDINGS” has just been released, click here for purchase information on the trade or limited edition publications.

For further information,

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Year’s Best Movies: WSJ List Includes Documentary on Edward Burtynsky

In today’s Wall Street Journal, critic Joe Morgenstern discusses his picks for the “Best of 2007: For This Year’s Movies, Small Was Beautiful.”  His short list includes “MANUFACTURED LANDSCAPES,” a documentary by filmmaker Jennifer Baichwal. Morgenstern states: “Including a documentary that almost no one has seen may seem like an affectation, but my hope is to get you to see “Manufactured Landscapes,” not to impress you with the fashionable obscurity of my tastes. Discovering Jennifer Baichwal’s film at the New Zealand Film Festival earlier this year – it also played briefly in this country – was a perception-changing experience. Inspired by the work of the Canadian photographer Edward Burtynsky, “Manufactured Landscapes” starts with an eight-minute tracking shot down one aisle of a Chinese factory the size of a small town. Then it follows Mr. Burtynsky on a tour of industrial Asia in order to show – without polemics – the scale of man’s activities, and the impact they’re having on our planet. I thought I had some sense of that impact until I saw this astonishing doc.”

This award-winning film is available on DVD; click here for information.

And don’t miss the NYT’s special series on China’s industrial revolution “Choking On Growth” – the facts, and the images, like Burtynsky’s, are staggering.

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An Interview with BILL JAY by Darius Himes

Today’s PDN On Line edition features an interview with photographer, writer, publisher and author BILL JAY conducted by Darius Himes. The discussion surrounds Jay’s recent publication BILL JAY’S ALBUM, Volume 1 (Nazraeli, 2007), the first of two books showcasing Jay’s photographic portraits of photographers, a practice and passion he has maintained for many years. Like Himes, I too had the great priviledge of studying with Bill Jay at Arizona State University (as did John Boland of the Andrew Smith Gallery, Lisa Sette of the gallery of her own name, Chris Pichler, founder of Nazraeli Press, and the list goes on and on). Bill made this history of culture, the sciences and more come alive to us and I encourage you to read “ENDNOTES” his regular contributions to Lenswork, his previous titles and all that you can get your hands on authored by Bill. Those of you in the San Diego area have the pleasure of the occasional gallery talk at the Museum of Photographic Arts (MoPA) near his home just north of there. Don’t miss the chance to read – and if possible, hear – Bill’s commentary on photography. You will be pleased you did.

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Planning ahead: January 18, 2008 Deadlines from CENTER

From a press notice from CENTER, detailing the numerous competitions for photographers that all carry the same deadline:

“C A L L F O R E N T R I E S Deadline: January 18, 2008

REVIEW SANTA FE is a two-day portfolio review event for photographers who have created a significant project or series and are seeking wider recognition. Up to 100 photographers are selected to participate in two days of reviews with esteemed curators, editors, art directors, publishers, gallery and agency reps, and alternative market professionals. Event Dates: June 5-7, 2008


PROJECT COMPETITION honors committed photographers working on long-term documentary projects and fine art series.
Charlotte Cotton, Curator of Photography, Los Angeles County Museum of Art (LACMA)
Chris Pichler, Publisher, Nazraeli Press
Susan Scandrett, Creative Director, Mother Jones Magazine
$5,000 cash award, $1,000 tuition voucher at the Santa Fe Workshops, full scholarship to Review Santa Fe 2008, year-long Photographer’s Showcase at, and more.

PC –

recognizes outstanding individual photographs in color and black & white.
Black & White – Anthony LaSala, Senior Editor, Photo District News (PDN)
Color – Jen Bekman, Director, Jen Bekman Gallery
$1,000 tuition voucher to the Santa Fe Workshops, $1,000 gift certificate from Singer Editions, $500 gift certificate from Calumet Photographic, Stylus printer from Epson, $300 gift certificate from Light Impressions, and more.

SI –

Center is very pleased to announce that digital submissions may now be uploaded through our website! We hope this makes it much easier for you to submit to the Project Competition, Singular Image awards and Review Santa Fe and saves you time. Prints submitted through the mail are also gladly accepted.

For apply or for additional information go to: or call: 505.984.8353. “

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Aperture Announces 2007 Portfolio Prize Winner: JESSAMYN LOVELL

From the Aperture website:

“2007 Aperture Portfolio Prize Winner Announced
More than eight hundred artists from across the United States and around the world submitted their work to the first Aperture Portfolio Prize competition. Out of this vast array, the judges awarded the top prize to San Francisco-area photographer Jessamyn Lovell for her project Catastrophe, Crisis, and Other Family Traditions. In addition, four runners-up were selected: Brooklyn-based Ian Baguskas, Cynthia Greig of Detroit, New York-based Israeli artist Shai Kremer, and Tomoyuki Sakaguchi of Tokyo. Aperture is pleased to showcase each artist’s portfolio here (below):

Aperture Portfolio Prize Winner: Jessamyn Lovell

Runner-up: ian Baguskas

Runner-up: Cynthia Greig

Runner-up: Shai Kremer

Runner-up: Tomoyuki Sakaguchi

Click here for information on the 2008 Portfolio Prize
2007 Portfolio Prize Winner:

Jessamyn Lovell—
Catastrophe, Crisis, and Other
Family Traditions

Editorial Statement
Catastrophe, Crisis, and Other Family Traditions is an ongoing project that photographer Jessamyn Lovell has been working on for the past ten years. Lovell describes the work as a “journal that includes the stories and the erratic, transformative struggles my family has dealt with . . . a personal documentation of an American family struggling with class, religion, and disability.”

The main characters include her mother, Kathy Lovell, who suffers from diabetes, a debilitating spinal injury and resulting paralysis; her adopted brother Ariel (A.J.) who suffered severe burns in an accident when he was nine years old; and her two sisters, Alison and Klare. Lovell also turns the camera on herself—witness as well as participant in the story. Her view of her family is unsparing, yet empathetic, a powerful dichotomy that drives the work. This is a recurring conflict in the series, and exemplified in the series’ introductory photograph. In this image, Lovell’s wheelchair-bound mother, shotgun in hand, challenges the viewer—and perhaps Lovell herself—to come any closer, a dual portrayal of strength and vulnerability.

The series’ action is proscribed to the environs of the family farm, replete with goats, ducks, dogs, and cats sharing the fate of the family, and the events that mark time are injections of insulin, preparations of meals and barbeques, shopping trips to Wal-Mart. As told by the young photographer, her family’s story is an ongoing battle for survival, but also a battle to remain connected, caring, and yet not totally consumed by the travails of daily life in the Lovell family. That struggle is palpable, in both the images and the diaries, in which Lovell recalls that “she is part of this family no matter how hard I study or what kind of photographs I take, or what kind of apartment I go home to. I am still somehow chained . . . it feels like I have never left.”

The larger series from which the gallery presented here is drawn combines diaries, diagrams of the family homes, and a multi-faceted portrait of the family, their environment, and the difficulties they have faced together. She occasionally collages her images, which are created using a variety of formats, from a fairly formal use of 35 mm and medium formats to the rough and ready feel of Polaroids and a Holga camera. Her multi-textured, personal approach offers an open-ended read of the work as well as of the subjects and their stories, evoking Jim Goldberg and Richard Billingham in both tone and texture. The story remains uniquely Lovell’s however and the work she has created as a means to grapple with it and to convey it to the outside world is rich, complex, and deeply effecting. —LAM

Artist’s Bio
Jessamyn Lovell graduated from the Rochester Institute of Technology with a BFA in photographic illustration in 1999. She received her MFA in photography from the California College of Arts and Crafts in 2001. In 2003, she was an artist-in-residence at Light Work in Syracuse, New York. She is the recipient of numerous grants and awards, such as the CaDre Grant, San Francisco, and the American Society of Media Photographers Award, Rochester, New York. Her work has been exhibited nationally, including a solo exhibition at the Richmond Art Center, Richmond, California, and group shows at Rayko Photo Center, San Francisco; LoBot Gallery, Oakland, California; and Robert B. Menschel Photo Gallery, Syracuse, New York. She currently lives in Oakland and teaches full-time at Diablo Valley College. More of her work can be viewed at

2007 Runner-up Editorial Statements:

Ian Baguskas- SANSARAM



The following Aperture staff took part in judging the 2007 competition:

Lesley A. Martin, Publisher, Books
Diana Edkins, Director of Exhibitions & Limited-Edition Photographs
Michael Famighetti, Editor, Books, & Managing Editor, Aperture magazine
Susan Ciccotti, Managing Editor, Books
Joanna Lehan, Associate Editor
Yass Etemadi, Editorial Assistant
Sebastian Mejia, Work Scholar
Kate Phillips, Work Scholar
Christina Wiles, Work Scholar
Carmen Winant, Work Scholar”

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Communication Arts Magazine’s INTERACTIVE DESIGN ANNUAL

I encourage you to check out the winners of last year’s Communication Art Magazine Interactive Design Annual, which includes particularly interesting projects under INFO DESIGN and SELF PROMO.

Under INFO you’ll find the wonderful multimedia piece created to accompany Mark Klett’s AFTER THE RUINS exhibition at the Fine Arts Museums of San Francisco, and under SELF PROMO you find the great website for LAUREN GREENFIELD(.com) which includes educational components as well as a FORUM for those interested in discussing topics relating to eating disorders, which was the subject of THIN, Greenfield’s first documentary for HBO.

Check out all of these award winning designs for inspiration towards communicating with your own audience.

And, if you are a creator of interactive design, the deadline for entering your work in the Interactive Design Annual 14 is JANUARY 11, 2008.

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FLASH FORWARD: An Opportunity for Emerging Photographers under the age of 34 based in Canada, US and UK

The Magenta Foundation has announced guidelines for year four of FLASH FORWARD, its Emerging Photographers exhange. Applications are accepted now; the deadline for on-line submissions is December 31, 2007. Click here for submission guidelines.

From the website:
“The Magenta Foundation is pleased to announce year four of its Emerging Photographers exchange. With every year our artists exchange program grows and gets stronger.

This is an open call for submissions.
All photographers in Canada, the US and the UK under the age of 34 can submit.
Bright Spark Award winner will receive $5000.
Winners of this competition will be published in a high quality art book, with an exhibition in Toronto in October 2008. Other galleries nationwide Canada and US to be announced.
There is a small administration fee (see below for the fees for each country). Payments may be made via Pay Pal on our web site.

JURORS for 2008:

Dean Baldwin – Ydessa Hendeles Art Foundation
Sara Knelman – Art Gallery of Hamilton

Darren Ching from Photo District News in New York
Debra Klomp Ching – Klompching Gallery New York

Simon Bainbridge from the British Journal of Photography in London
Paul Herrmann – Redeye-the Photography Network
Paul Wombell – Hereford Photo Festival”

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Diane Arbus Archive to go to the Metropolitan Museum

There was a major announcement this week – the heirs of photographer Diane Arbus have arranged for The Metropolitan to own her archives through a part gift/part print-purchase arrangement, as noted in this article in the New York Times published yesterday. Click here to read the press release from the Met. This is wonderful news as the materials will be preserved and shared; in due time we can look forward to learning much about Arbus’ creativity, its roots and her thoughts stated in her diaries.

As Jeff L. Rosenheim, curator in the Met’s department of photographs stated in the Times piece, “Generally this kind of material doesn’t survive the artist.”

For future generations of artists, curators, critic and more, the more completely annotated your archive the better. It is important to consider how, and by whom, your work may or may not be presented, printed and/or licensed posthumously. Once again I remind all artists to take good care of their photographic materials and related papers, correspondence and other notations.   A detailed archive is an extraordinary gift to many!

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In The Press, Recently: Lists of PHOTO BOOKS OF THE YEAR

I’m back home in Tucson after our final “PDN On The Road” Seminar, five cities flew past us. I learned so much this fall, met so many great people and saw so much great work. It was great to spend so much time with my fellow core presenters Meg Asaro, Michael Britt, Patrick Donehue, Jeanine Fijol, Stephen Johnson, Ed Kashi, Aaron Schindler, Brian Storm and Debra Weiss, and organizers Photo District News and the Santa Fe Photographic Workshops. I’m a bit behind on bringing my readers links to what is happening, so check these things out:

NEWSWEEK’s recent article “Is Photography Dead?” by Peter Plagens (December 10, 2007 issue) has been the subject of much discussion in the blogs (and in person). Check it out.


A number of publications have released their Photography Books of the Year lists:

Wall Street Journal by Richard B. Woodward (look soon, links go down after a week)

PDN has posted selections from its staffers, as has American Photo.
Shutterbug has split its list into two areas:

PHOTO books of the year and DIGITAL books of the year

And – don’t miss these interesting lists from UK publications:

The Guardian (UK) by Prudence Hone

The Sunday Times (UK) by Martin Parr

The Independent (UK) by Charles Darwent

newly added 12/19, another UK list from The Telegraph


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The Aftermath Project Announces 2008 Grant Winner: KATHRYN COOK

From a press release issued today by The Aftermath Project:


The Aftermath Project is pleased to announce that KATHRYN COOK, Istanbul, Turkey, has won the 2008 Aftermath Project grant of $25,000 for her project, “Memory Denied: Turkey and the Armenian Genocide.”

A one-time special award of $2,500 will also be given to finalist Natela Grigalashvili, Tbilisi, Georgia, for her project “Refugees of Georgian Villages.”

Three additional finalists were also named for the 2008 grant year. In alphabetical order, they are: Pep Bonet, Mallorca, Spain; Tinka Dietz, Hamburg, Germany; and Christine Fenzl, Berlin, Germany.

The work of all five photographers will be featured in the Spring 2009 publication, “War Is Only Half the Story, Volume 2,” co-produced by Aperture (New York), Mets and Schilt (Amsterdam), and The Aftermath Project. The first volume in this series, featuring the work of the 2007 Aftermath Project winners and finalists, will be published in Spring 2008.

This year’s grant was judged by Jeff Jacobson, photographer (“Melting Point,” Nazraeli Press) and a member of the board of The Aftermath Project; Scott Thode, deputy picture editor, Fortune magazine; and Sara Terry, photographer and founder of The Aftermath Project.
Kathryn Cook is an American photographer based in Istanbul whose work is represented by Agence VU and Prospekt. Her project “Memory Denied: Turkey and the Armenian Genocide” explores the memory of the Armenian massacres that occurred during the decline of the Ottoman Empire in the early 20th century. Recognized as “genocide” today by more than a dozen countries, Turkey still vigorously rejects that claim. Cook’s work follows the remains and traces of an ambiguous, dark history – the definition of which is still being fought over nearly a century later.

Cook’s images reveal a subtle picture, a narrative of glimpses that might exist only in the minds of those who remember, or who have heard firsthand the accounts of the bloody purges. Her work also addresses how violence committed nearly a century ago has manifested itself in present-day Turkey’s national identity. And it explores the many ways that the greater implications of memory and history continue to resonate at home and abroad.
First Finalist Natela Grigalashvili, a Georgian photographer, won a special one-time award of $2,500 for her project about refugees who have fled conflicts in Abkhazia and South Ossetia, in the Caucasus region, and have settled in villages in the mountains of Georgia.
Other finalists include Pep Bonet, a Spanish photographer represented by NOOR, who submitted his ongoing project, “Faith in Chaos,” about the lives of young people in post-conflict Sierra Leone, including amputees, the blind, former child soldiers and those with psychiatric challenges; German photographer Tinka Dietz, who proposed a new project, “The Mines of Stari Trg,” about a now-defunct mine and the miners who worked there, in the industrial complex of Trepca, which has long been a symbol of the ethnic struggles of Kosovo; and German photographer Christine Fenzl, who submitted her ongoing project, “Looking Forward – Streetball,” a look at the way many NGOs around the world are using street ball in troubled and post-conflict settings, particularly in their work with children (her proposal included Cambodia, Afghanistan and Nigeria).
The Aftermath Project is a non-profit organization committed to telling the other half of the story of conflict—the story of what it takes for individuals to learn to live again, to rebuild destroyed lives and homes, to restore civil societies, to address the lingering wounds of war while struggling to create new avenues for peace. The Aftermath Project provides grants to photographers to support their efforts to document the aftermath of conflict around the world, and seeks to help broaden the public’s understanding of the true cost of war through publications, exhibitions, and educational outreach. To learn more, please visit:

The 2008 Aftermath Project grant was made possible largely through the support of the Open Society Institute.

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