Image Makers vs. Print Makers

So I asked Steve if he wanted to go down with us and see the Chuck Close exhibit at the Corcoran. “No thanks, ” he replied, “I already know what he looks like.”

And while it is an interesting show from the point of process, at the end of the day that was all I was left with; the incredible varied processes used on about three different images.  For Chuck Close, the opening wall text read, “The print is everything.”

Contrast this with something I read today on Melaniephotoblog with an interview from John Gossage:

There is a belief I have noticed among the best of the young, that a good picture is a good picture, no matter how it is reproduced. A belief I completely agree with.

For me, I empathize with both a bit.  Seeing the same image in I don’t know how many different complex incarnations leaves me a bit cold, but when I am looking at a gallery wall, I do want that print to be the best it can be (though this is also subjective) – but I want content to be there as well.   But process just on it’s own lacks heart. Excellent craftsmanship without soul just as bad as concept without content in my book.

Parting anecdote: so my friend Jenna trips over a man in a wheelchair at Union Station.  Turning to apologize she recognizes the visage of one Chuck Close. “Sorry!,” she says, blurting, “Your famous!”

“I know,” he says, rolling off into the sunset (or at least Gate E to NYC).

If You Win Don’t Just Stand There

Excellent advice from a Photo Editor on his guide to handling contests:

If you win, don’t just stand there. You should enter contests with the sole purpose of using a win to start a conversation with someone you want to work with. I suppose validation is another reason photographers enter, but I think it’s more important to have a marketing goal in mind. I entered contests with my magazine work solely for a section on my resumé for awards.

A Woman I Once Knew: Screening in NYC

As many of you, I am a big Rosalind Solomon fan.  I only found her work relatively recently and I experienced the same gamut of emotions as when I discovered Shirley Temple movies at age 8: the joy of the discovery and subsequent sadness when I discovered that Shirley Temple Black was 65 (at that time) and thus unavailable for play dates.  So I said to Rosalind when I first talked with her and she told me about her film, A Woman I Once Knew, “But I am just discovering your work. I don’t want to mediate your mortality!!!!!”  I know a bit close-minded and selfish, I am still a grasshopper yet.

Well, I’m a little older and emotionally prepared to handle it now. I’m going to try and get up for the screening of her film.  If you are in NYC and interested you can buy limited tickets now!

www.ticketweb.info

search: awomanionceknew

Visit www.rosalindsolomon.com

ROSALIND SOLOMON’S “A WOMAN I ONCE KNEW” WILL PREMIER AT THE

NEW YORK INTERNATIONAL FILM FESTIVAL ON JULY 23RD

NOT A BIMBO, SHE’S A CRONE!!!

Prominent photographer and octogenarian Rosalind Solomon’s 2010 work, A Woman I Once Knew, has been selected by the New York International Film Festival for its premier on July 23rd at 10:10 pm at Village East Cinemas.

This fantastic work explores a deep and sensual space.  It’s playful and surprising.  It blew me away”—Serena Jost

“Mysterious and ominous.  I love the movie.  I am delighted to have my music, “16” used in such a sensitive and Creative way”—Jason Eckardt

The crone is tormented. …Old, old, old.  Where will she go?  While she sleeps, unknown agents enter placing monitors and spy cameras everywhere.  She incants, she dances.  Traveling back in time, she finds herself in a boat on the Ganges River.

Rosalind Solomon’s photographs are in the collections of over 50 museums.  Her work is currently on view at MOMA in Pictures by Women: A History of Modern Photography (through March 2011).  She is represented by Bruce Silverstein, 535 W. 24th St., NYC.

Conceptual ÜberChild: Eli Archibald

Eli Archibald is the only one of my friends and acquaintances’ children that I am facebook friends with.  I am sorry, and you know who you are, but it is bad enough to constantly feel inferior to Ruben‘s pectoral endowment vis a vis his photo updates on facebook (never go changin’ Ruben you are motivating me to 100 pushups!), without also being subjected to updates regarding Sally Jo’s first tooth.  But with Eli, there is the possibility of so much more, something Roger Ballen with a dash of Sally Mann, and hey maybe a bit of My Kid Could Paint That too (in the sense that he could be a savant, not that he could be a potential fraud! nevair!!!!).

Sure enough, the dynamic duo known as TA and Eli have put together a treasure of a collaboration, violating no sweatshop regulations in the process.

Echolilia: By Timothy and Eli Archibald

ECHOLILIA / Sometimes I Wonder

Published June 2010 by Echo Press, San Francisco, CA
Hardcover / 11 x 13 inches/ 70 pages / 43 photographs with an interview by Andy Levin of 100 Eyes Magazine.
First Printing: 20 copies signed by the artists
$120.00 plus shipping and handling via Paypal

You can read more about the project, look at and purchase the book here.

The Man, the Legend: ELI (with book)

You Tube Biennale

Ok, so I don’t believe it’s pronounced in the Italian way, and they are definitely upping the ante by partnering with the Guggenheim.  Here’s an opportunity for those of you dabbling in motion of any sort:  YouTube Play. A Biennial of Creative Video

Guggenheim is partnering with H-P and You Tube to receive video art submissions from anywhere on the planet and by anyone.

“We’re looking for things we haven’t seen before,” says Nancy Spector, deputy director and chief curator of the Guggenheim Foundation.

20 will be selected to show in the first Biennial of Creative Video at the Guggenheim MuseumsThe show will be simultaneously running at the Guggenheim in New York City, Berlin, Bilbao, and Venice. All 200 finalists will have their videos shown on the YouTube Play Channel.

I believe it closes July 31 so giddy up Tim Hetherington, William Lamson and posse.

Here’s to Another Fourth of July

I hope that you spend it celebrating some constitutional liberties and avoiding any Lee Greenwood ditties.  I did not escape the latter fate last night during the Capitol dress rehearsal for tonight’s July 4 concert. While Gladys Knights and the Pips were a no show (nothing like a middle aged white woman lip syncing Midnight Train to Georgia on the jumbatron), the Marine Corps band brought down the house with the Battle Hymn of the Republic accompanied by some sexy firepower action: the release of ye olde cannon balls during the charge of the light brigade. Good times.
Dixie Cup Flag, Mississippi © Susana Raab 2009

I Love the Sound of Typewriters in the Morning

My Mixture, Rowan Oak, Oxford, Mississippi © Susana Raab 2010

NOVA Photography Professor Page Carr alerts me to the performance of Ding Ren, on both July 2 and Aug. 20, from 4:30 to 6:30 p.m. at SAAM, of the performance “Observations with a Typewriter” in the Lawrence A. Fleischman Gallery at the Smithsonian’s Donald W. Reynolds Center for American Art and Portraiture.  F and 9th streetish gallery place metro.  The perfect thing to do before hitting up Jaleo.  Send me an email if you plan to attend tonight.

What what? You ask, is this all about? Check out the Smithsonian’s blurb here.