Archive for October 31, 2008

SHOTS MAGAZINE: Submissions for Portfolio Issue due November 3

One of my favorite issues of Shots Magazine each year is their PORTFOLIO ISSUE, where I have been introduced to the work of so many artists. Shots has been the place for first publication of countless artists I know!

To view submission guidelines, click here.

From their website:

“An established independent photography journal in its 22nd year of publication, Shots Magazine reaches an international audience of photographers, collectors, galleries, museums, educators and other fine art photography enthusiasts.”

Submissions are due NOVEMBER 3; click here for details.


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“REALITY CHECK” Exhibition opens November 4 at the Metropolitan Museum, NYC

Shai Kremer advised me of a recent sale to The Metropolitan, and sent me this link from the museum’s on-line image database featuring his image. Curator Mia Fineman has included the image in this interesting exhibition REALITY CHECK.

From the Met’s Press Release:

Contemporary Photographs Explore Truth and Illusion in Reality Check at Metropolitan Museum

  • Exhibition Dates: November 4, 2008–March 22, 2009
  • Exhibition Location: Joyce and Robert Menschel Hall for Modern Photography

More than any other type of picture, photographs seem to have a direct and natural connection to visible reality. Reality Check: Truth and Illusion in Contemporary Photography surveys the ways in which artists exploit illusionism in photography to blur the distinction between what is real and what is not. Among the works featured are photographs of staged scenarios and constructed environments that appear to be real, as well as real scenes or landscapes that appear strangely artificial. On view at The Metropolitan Museum of Art from November 4, 2008, through March 22, 2009, Reality Check is the third installation in the Joyce and Robert Menschel Hall for Modern Photography, the Museum’s new gallery for contemporary photographs.

In recent years, artists and viewers alike have become increasingly aware of photography’s potential for distortion and ambiguity. Reality Check presents 30 works from the Museum’s permanent collection that tread on the fault lines between reality and artifice. With the rise of postmodernism in the 1970s, artists began to turn the assumed truthfulness of photography against itself. Taking advantage of the camera’s capacity to make scale models appear to be life-size, David Levinthal staged convincing war scenes using plastic toy soldiers, while James Casebere created haunting images of deserted interiors by photographing tabletop models of white-washed spaces, fabricated in his studio.

Set-up photography has become a major current in contemporary art, as seen in subtle and mesmerizing pictures of meticulously made replicas by Thomas Demand and Robert Gober and the elaborate cinematic scenarios of Gregory Crewdson.

While photography can make contrived scenarios look convincingly real, it can also make real scenes or landscapes appear strangely artificial. The saturated color and hallucinatory clarity of Julian Faulhaber’s pristine gas station and Frank Breuer’s sleek corporate façades have the paradoxical effect of making these real-world locales look uncannily like scale models. This play of truth and illusion becomes dazzlingly complex in photographs of places where fantasy meets reality, such as Shai Kremer’s panoramic study of a fake city used for military training. Within the last decade, the integration of photography and digital technology has pushed the medium’s trompe l’oeil illusionism to a new level. In the work of younger artists like Craig Kalpakjian, whose computer-generated images of corporate corridors have no real-world counterparts, the idea of photography as a true mirror of reality seems more illusory than ever.

Also included in the installation are photographs by Philip-Lorca diCorcia, Naoki Hanjo, Vik Muniz, Gabriel Orozco, Stephen Shore, Taryn Simon, Joel Sternfeld, Thomas Struth, Hiroshi Sugimoto, Bernard Voïta, and Mark Wyse. To provide context on the history of illusionism in photography, the contemporary works will be complemented by related photographs by James Wallace Black, James Nasmyth and James Carpenter, Edward Sheriff Curtis, and Ruth Orkin.

Reality Check is organized by Mia Fineman, Senior Research Associate in the Department of Photographs.

The exhibition will also be featured on the Museum’s website at

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The Prix Pictet Competition Winner Announced: Canadian BENOT AQUIN

Laurie Lambrecht sent me this link this morning from the; be sure to visit the website for the competition and learn about all the important components of this prize, the exhibition tour, the book and more.

From the BBC:

A major new global prize celebrating the work of both professional and amateur photographers has been awarded in Paris.

The Prix Pictet is the first competition of its type to focus on the global issue of ‘sustainability’ – and, this year in particular, on water.

The winner of 100,000 Swiss francs (£53,000) is the Canadian photographer Benoit Aquin.

Here (open the slideshow) – the head of the Prix Pictet jury, Francis Hodgson, shows off Aquin’s work and images from some of the 17 other photographers who made the shortlist.

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Ed Kashi Workshop in SF Bay Area for FOTOVISION: The Contemporary Landscape: Documentary and Multimedia Storytelling,” November 8-9th

The Contemporary Landscape: Documentary and Multimedia Storytelling with Ed Kashi

Ed Kashi’s upcoming workshop in San Francisco! From the FOTOVISION WEBSITE:

November 8th & 9th, 2008 — 10:00am to 5:00pm

Description: The digital age is giving documentary photographers extraordinary new ways to create and organize our photographic projects. This two day workshop will show how to use the new digital workflow to extend the ability of the visual storyteller. Ed Kashi will share examples of his personal projects and work with National Geographic and other major publications to illustrate the possibilities of photography as a source of passion, personal expression and communicative power. He will discuss how you develop an idea, get access to your subject, determine your objectives and present your work. The objective is to share the passions for photography and inject that spirit into the students. Digital photography is just a new tool and what is most important is to understand the traditions of photography, storytelling, narrative and intimacy so we can integrate these qualities into our work using the new tools at our disposal.

There will also be presentations and discussion on multimedia, how it fits into the convulsive landscape of media today and what and where the opportunities are for creativity and distribution of your work.

The students will view the instructor’s work, outlining the complete process of creating a project from beginning to end. Each student will be expected to bring a project, in any form, for class discussion on how to move their work forward.

“My work has been profoundly effected by the political and social issues of my time. I derive my passionate drive to commit significant time and energy to produce works that are in-depth and personal. My desire is to report on, capture and tell the stories that I believe will impact humanity in the short term and for decades to come.”

Location: Orange Photography 1261 Howard Street, 2nd floor
San Francisco, CA 94103
Instructor: Ed Kashi’s photographs have appeared in National Geographic, The New York Times Magazine, Time, Fortune, Geo, Newsweek, MSNBC.COM, and many other domestic and international publications. The multimedia story “The Sandwich Generation” was 2007 POYi Best Multimedia Feature Story or Essay and was done in collaboration with Julie Winokur.

He has several monographs, films and multimedia projects on longterm subjects including the notable Aging in America project.

Most recently, Kashi’s innovative approach to photography and filmmaking produced the Iraqi / Kurdistan Flipbook, which premiered on in December 2006. Using stills in a moving image format, this creative and thought-provoking form of visual storytelling has garnered an award from the 26th annual Black Maria Film and Video Festival (2007) and will be utilized in an upcoming series of exhibitions on the Iraq War being presented at The George Eastman House.

Class size: 16 participants.
Cost: $325

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