Loves and Fears Closing Party Fri Oct. 14

Its the last call for the Loves & Fears Project at 2208 MLK Avenue SE!

In conjunction with the openings at the Anacostia Arts Center down the road, I’ll be hosting the last studio hours this year to participate in the project.  It has been really wonderful having a chance to set up shop in the community and get to know you all.  I hope that those of you who have passed and by and thought about participating will do so, and that more urban adventurers will use this as an opportunity to cross the great boundary channel that is the Anacostia. Treat yourself!

Details:

Friday October 14, 2016  6-8:30 PM

2208 Martin Luther King Avenue SE

29__dsc1965Loves & Fears is a community project which asks people to share their loves and fears, then sit for an accompanying portrait. The work is printed and posted around town, and will be used for publication and social media sharing.  All participants will be emailed a copy of their portrait and text.

This project was sponsored by the Anacostia Arts Center with support from the National Endowment of the Humanities.

 

 

The Loves & Fears Project returns to Anacostia

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I’m pleased to announce that the Loves & Fears project has returned to southeast Washington at 2208 Martin Luther King Ave SE, within walking distance from the Anacostia Metro.  Hosted by Immersion, the brain child of the Arch Development Corp and supported with funds from the National Endowment in the Arts; Immersion brings together creative place makers to host participatory projects in the Anacostia Arts Center, and in  my case at a newly renovated row house next to Martha’s Table Outfitters on MLK near the Big Chair.

What is Loves and Fears you ask?  It is a simple concept.  What brings us together and what tears us apart? Love and fear.  I’m asking people to share their loves and fears then I take their portraits and place their portraits and words around town.  I’ve got other ideas for the project too, once I get enough participants.

So come on down, I have five sessions left. Thursdays 1 – 7 pm and Saturday 12 – 5 pm.

2208 MLK Ave SE.  Near the Anacostia Metro.

More details here.

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Raab Photobombing Fotoweek Closing Panel: Finding Your Vision & Staying Inspired

So they asked me if I wanted to be on the Festival Closing Conversation panel on “Finding your vision and staying inspired,” to which I wanted to respond, “Hells if I know!”

But actually, of course I have a ton to say on the subject, and even better for the audience, I am surrounded by a competent, inspiring co-panel including moderator Lucian Perkins, and fellow panelists Frank Hallam Day, Marvin Joseph, Bill Crandall, and especially, Astrid Riecken.  This Closing Conversation will take place at Fotoweek Central, 2801 16th Street NorthwestWashington, DC, 20009 on Sunday November 15 from 3:30-5:00 pm. Afterwards we can share a cab to get down to the National Museum of Women in the Arts supper with Carrie Mae Weems to thusly ponder if an artist can inspire social change. Inspiration, vision, social change, victuals. What more could anyone ask for of a November Sunday?

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The Invisible Wall opens at Georgetown University Thursday Oct. 29 & Other Fotoweek Previews

Hello.  I’ve got a few openings around town around FotoweekDC, beginning with the lead off: The Invisible Wall @ Georgetown University’s Spagnuolo Gallery

 Thursday Oct. 29 at 5 -7.  If you can make it I will be speaking from 5-6.

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Next up: the exhibit I curated for Fotoweek “My Kingdom for a Stage: Staged Photography in Conceptual and Documentary Practices” through the work of 17 Iberoamerican photographers.

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© Adriana Duque “Maria 25”

The public opening will be Friday Nov. 6 at Hillyer Art Space tucked away in a back alley near the Cosmos Club in Dupont Circle, 9 Hillyer Ct NW, Washington, DC 20008.  Finding the artists featured in this show was both fun and frustrating, and greatly aided with the help of Fabian Goncalves Borrega at the Art Museum of the Americas and Idurre Alonso at the Getty.  Un mil gracias.  The artists who agreed to participate in this show represent a wealth of practices.

Conceptually, the work often follows the tradition of magical realism in recreating fantasy worlds meant to inform our current realities as in Mexican artists Dulce Pinzon’s “Global Warming,” or in “Maria 2.” In the latter image, Colombian artist Adriana Duque recreates a world of childhood fantasy where a young Infanta sojourns resplendent and bejeweled, a modern interpretation of a baroque Colonial fantasy.

Documentary photography is considered to be the sacred terrain of the unaltered photograph, but it can employ elements of staged photography to powerful effect. Looking inwards, Ecuadorean photographer Paola Paredes, set a stage composed of three cameras recording the moment when she told her parents she was gay. The photographic series records pain, pathos, and humor.

© Pao Paredes from the series "The Unveiling"

© Pao Paredes from the series “The Unveiling”

I am very excited to feature the works of:

Argentina/Irina Werning

Brazil/Mostra Tua Capa

Chile/Rodrigo Valenzuela

Colombia/Adriana Duque

Costa Rica/Eloy Mora

Ecuador/Paola Paredes

El Salvador/Fred Ramos

Espana/Garcia de Marina

Guatemala/Mario Santizo

Honduras/Hector Rene

Mexico/Dulce Pinzon

Paraguay/Norberto Duarte

Peru/Rafael Soldi

Portugal/Miguel Proença

Uruguay/Roberto Fernandez

Republica Dominicana/Fausto Ortiz

Venezuela/ Francisco Elías Prada

Next up WPOW’s annual juried show at Fotoweek Central at the Former Spanish Ambassador’s Residence opens with a reception on Tues Nov 10th @ 8pm with a $5 donation to fotoweek suggested at the door.  Yours truly won best in show, with the image from The Invisible Wall below.Prior to the opening WPOW is hosting  “Picturing Diversity: Expanding the View,” a panel discussion during FotoWeekDC on coverage of minorities and culture in photojournalism. The panelists include photographers Zun Lee and Endia Beal, and will be moderated by Washington Post Director of Photography MaryAnne Golon.

The panel will be immediately followed by opening exhibition
reception for WPOW’s Annual Juried Exhibition at 8PM which is free and open to the public. Please consider a $5 donation to our sponsorFotoWeekDC at the reception.

Picturing Diversity: Expanding the View
When: Nov. 10, 2015 at 6:30 PM (doors open at 6PM)
WPOW Juried Show Opening Reception
When: Nov. 10, 2015 at 8-10 PM
Where: FotoWeek Central 1750 16th St NW, Washington, DC 20009.
Cost for entry to the panel is $10, which defrays the cost of the program.

Featured photographers:
Aude Guerrucci; Allison Shelley; Becky Harlan; Caroline Lacey; Ellie Van Houtte; Erin Scott Photography; Gabriela Bulisova; Gabriella Demczuk; Jacquelyn Martin; Kristin Adair; Kate Warren; Lindsey Léger; Leigh Vogel; Lexey Swall; Lauren Schneiderman; Maria Daniel Balcazar; Stephanie Cordle Frankel; Sarah Miller; Susana Raab; Melissa Golden; Meghan Dhaliwal

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Print is Not Dead: American Idle in the Pacific Standard

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“I also wanted to let you know that I’ve had to look at thousands (millions?) of images in my current job, and yours really stand out. Provocative and beautiful subjects and compositions, and such a range of natural, expressive poses. The body language, the look on the faces–people lost in their own moment, good, bad, neutral. You must be really charming and disarming.”

-salient words by editor Michael Fitzgerald of the Pacific Standard

With these words ended a most brief but beautiful collaboration between myself and editor Michael Fitzgerald of the Pacific Standard.  The magazine, based in Santa Barbara, hosts a fabulous photo column in the spirit of the Harper’s Magazine Index.  Each issue, it pairs an unassigned photograph with a bunch of factoids of loosely or tightly ascribed to the information in the photograph.  Fun and interesting, right?

Por ejemplo:

  • In 1964, Col Harlan Sanders, then age 74, reluctantly sold his stake in KFC for $2 million to his attorney, John Brown Jr. The Colonel started appearing on popular TV programs, including I’ve Got a Secret and The Tonight Show, clad in his trademark white suit, sometimes pushing a chicken cage filled with $2 million in cash.
  • Researchers at Stanford University interviewed athletes and coaches and concluded that boxing’s physical intimacy produces a sense of “at-homeness” among fighters. One of the most salient effects of boxing, according to fighters, is the closeness that develops between boxers in the ring.

So glad that print is not dead. How would we read in the bathtub?

Photographer Job Opportunities in Amherst, MA & London, UK Imperial War Museum

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The Northeast Document Conservation Center (aka NEDCC), based in Andover, MA 25 miles north of Boston, is hiring a full-time Photographer. The position description and application instructions can be found here https://www.nedcc.org/assets/media/documents/Photographer%20Job%20Posting%20-%209-18-15rev.pdf.

Current Job Opportunities

Digital Operator 

Collections Management Team
Imperial War Museum

£22,349 to £25,289 plus 20.9% employer pension contribution

Permanent

Normal Working Hours: 36hrs net per week

Person Specification Category: Level 2, Professional

Applications for a job share will be considered*

Closing date: 5 Oct 2015

We are one of the world’s leading authorities on conflict and its impact on people’s lives – from 1914 through to the present day and beyond. Our collections are filled with personal stories and experiences, inspiring powerful and often conflicting emotions. We aim to share these stories with as many audiences as possible across the world in a way that engages and challenges them, increasing understanding of why we go to war and the effect that conflict has on people’s lives. In other words, we expect our stories to change the way people think about war.

We rely on our staff to help us achieve this aspiration. You should be able to demonstrate the skills and competencies set out below, but equally we are looking for people who believe in what we do and who we are, and can treat every colleague, customer or visitor with respect, courtesy and honesty. We expect our staff to work flexibly and with enthusiasm. These are the qualities that make IWM such an extraordinary place to work.

Purpose of the job

The Digital Operator is a skilled image specialist working in a team of creatively minded people. They are adept at using a wide range of high end capture hardware and are intuitive in the use of various software packages. All computer work is undertaken on Apple Mac machines with high quality calibrated screens in a colour managed environment. A high level of concentration and attention to detail is a pre-requisite as are “an eye” for the image. Staff working in this area support each other with learning and keep abreast of current developments.

The material for capture ranges from small posters, to photographic prints and negatives as well as maps, documents and microfiche all captured to an exacting archival standard. The majority of work undertaken is project based and specific training on the various hard and software will be given. Examples of past and current project are Their Past Your Future scanning 24,000 negatives over 24 month period, On the Case CWR 3,500 paper items over 48 months and Q series negatives 115,000 over 30 months.

Working with pre-existing image files you will also be part of a team that prepares content to our client base both within and without the organisation.

Key duties

You will be expected to work independently as well as across different teams in order to contribute to and deliver the priorities of IWM – using your knowledge, skills, talent and potential to the best of your ability.

You will focus at all times on delivering excellent customer service, ensure value for money at all times while being  professional, courteous and demonstrating the behaviours and attributes expected of all IWM employees.  You will also adhere to all corporate standards, and use corporate systems as directed to ensure consistency of service, brand and operational standards.

You will be expected to work across departments effectively, working with individuals, partners and where appropriate volunteers.

To identify and implement learning and development needs for both yourself and your team, including volunteers, if appropriate.

You will be expected to comply with corporate standards, and use corporate systems, processes and procedures– and undertake any necessary training as directed.

In addition, your duties will include:

• SCANNING Flatbed  To make scans of original Collections Photographs Section materials including prints, negatives (glass and film) and transparencies to agreed specifications and targets.  You will also assist the team in the production of scans for other departments as necessary working to and following established workflow procedures within a colour-managed environment.

• PROCESSING  Photograph Section (Flatbed)  After capture of the image you will process the data to an agreed specification creating a master file to represent the analogue original.

• CAPTURE Black and White negative, documents, art etc, Using hi-end digital camera equipment (Hasselblad, Nikon) produce digital imagery of materials and post process the level required for use as “Master” images and after repurposing for access via Explore History facility and web site.

General  Dependant on the requirements of the job (specified by job sheet) you will source and repurpose images using Photoshop to colour balance, retouch, stitch etc. saving these to newly made delivery folders.

• OUTPUT Taking note to work within the colour managed environment output repurposed files as required – email, disc, inkjet, digital print.

• QUALITY CONTROL  In addition to maintaining defined standards of capture and processing for your own work, you will quality assess the output of other operators and liaise with them over any image quality failures (your work will be similarly assessed).    You will play an important role in ensuring that monitors and other equipment are calibrated regularly, as testing to ensure that reference standards and settings are maintained within a colour managed environment will form part of the duties.  Training in the specifics of this will be available.

• HOUSEKEEPING AND GENERAL You will be aware of the principles of conservation and ensure that the collections are cared for within departmental guidelines. As part of the workflow process you will manage the temporary storage and handling of archive material and safe return to the workflow co-ordinator on completion.

You will be required to maintain an up to date production log and report on a weekly basis for project monitoring purposes.

To maintain a constant flow of project deliverables you will liaise with the workflow co-ordinator as required and archive master and derivative files on the image server, in readiness for daily backup routines.

During times of absence and sickness cover for the Digital Suite Manager.

Maintain awareness of digital imaging practice, applications and innovation, advising department staff accordingly.

Work in such a manner as to ensure their own safety and the safety of others including members of the public and report to their Manager any hazards, dangerous occurrences or dangerous equipment they see, and any accident they are involved in or that they witness.

For further information, please follow the link: http://www.iwm.org.uk/corporate/jobs

Photographer Dolores Huerta Vivo @NPG talks about her life, art, & activism this Thursday 9/28 7pm sharp

A nice little programmatic offering for Hispanic Heritage Month by the National Portrait Gallery. Curator Taina Caragol is really keeping things moving over there.  Join me?

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NATIONAL PORTRAIT GALLERY

The Smithsonian’s National Portrait Gallery celebrates Hispanic Heritage Month with programs to highlight and pay tribute to the invaluable contribution of Latinos to American history and culture.

As part of Hispanic Heritage Month, the museum features

Living Self-Portrait: Dolores Huerta

Thursday, Sept. 24, 7–8 p.m. | Nan Tucker McEvoy Auditorium

Doors open at 6:30 p.m. 

FREE & open to the public! 

Dolores Huerta was a champion of the farm workers’ movement of the 1960s and 1970s. Hear more about her life and activism in a live interview with Taína Caragol, curator of Latino art and history at the Portrait Gallery. Huerta’s story is also told in the special exhibition “One Life: Dolores Huerta,” on view now.

La Galería Nacional de Retratos del Smithsonian celebra el Mes de la Herencia Hispana en Washington D.C., con diversas actividades para destacar y rendir homenaje a la invaluable contribución de la comunidad latina a la historia estadounidense.

Como parte del Mes de la Herencia Hispana, el museo presenta

Retrato Vivo: Conversación con Dolores Huerta

Jueves, 24 de septiembre, 7–8 p.m. | Nan Tucker McEvoy Auditorium

Puertas abren a las 6:30 p.m.

Evento gratis & abierto a todo el público! 

Dolores Huerta fue campeona del movimiento de los trabajadores agrícolas de los años 1960 y 1970. Conoce más sobre su vida y su rol como activista en una conversación en vivo con Taína Caragol, curadora de arte e historia latina del museo.

Dolores Huerta, Huelga, Delano CA Grape Strikes by Harvey Wilson Richards, 1965. Harvey Richards Media Archives © Paul Richards