My good friend and fellow photographer Andy Nguyen recently directed this video for Bergdorf Goodman and their holiday windows. If you haven't seen them, Bergdorf showcases amazing holiday themed windows every year. There is a tremendous amount of work that goes into those windows and I think Andy was able to capture a lot of that hard work with his production. It's a fun little segment and definitely worth a look if you have two seconds.
More to come...
Cheers.
Oh Rapha, when will you not do amazing things...
I want to ride but it's pretty much winter...I want to Cross Country Ski but it's not that winter...yet...
Look for some new work soon...
Happy Wednesday.
To start, I realize that my number of posts leaves quite a bit to be desired but things have been busy at the desk of i.u. but I'll try to better get out what's on my mind and filling my plate. As of now though another friend of mine has some work going up and if I'm not writing about my own happenings my second favorite thing to write about is others getting work out there.
Greg Jones is a fellow SPE colleague who has been on quite an adventure.
From the press release:
Greg Jones is proud to present his latest body of work in an exhibition of photographs taken during a month-long journey throughout Paris, Bosnia and Croatia.
This show serves as a follow-up to last year's "Rochester-Constructed Moments" exhibition, and the photographs are a part of a larger body of work that questions the divide between fact and fiction, the mythological and the mundane.
For those who can't make the opening there will be a closing reception on First Friday, December 3rd, which will be conducted in conjunction with the Hungerford's biannual open studio event, "Hungerford Unwrapped".
The When:
- Opening Reception-Friday, November 26th, 6pm - Closing Reception-Friday, December 3rd, 5pm -(and by appointment)
The Where:
-The Hungerford 1115 East Main Street, Suite 311 Rochester, NY 14609 (3rd floor, enter through door #2)
The Who:
Greg Jones is a digital-based artist and photographer whose approach to subject matter is shaped by his love of Robert Doisneau, Joel Sternfeld, and Edward Hopper - artists whose work captures the ordinary life of their immediate surroundings and beyond. Through his mastery of composition and color, and by compositing together frames of scenes photographed over long stretches of time, Jones works to craft narratives that disrupt the line between fact and fiction. His work has come to represent the new wave of contemporary street photography- a wave in which the extraordinary is illuminated within the mundane.
Greg was born in Syracuse, New York in 1986 and currently lives and works in Rochester, New York. He received his BFA from Rochester Institute of Technology in 2010. Greg keeps himself involved in Rochester's art community by organizing and promoting exhibitions as well as doing volunteer work at the George Eastman House. He is currently interning with the artist Sterz as an art teacher at Cobblestone School in Rochester. Greg will be exhibiting his Rochester portfolio at Artisan Works early next year.
___
All Neat stuff there. If your around, which sadly I am not, pop over and check it out. If you have a chance give his site a click for more work/info at http://www.gejones.net/
Anyway, look for some more random things to come.
Be safe out there.
I have my computer back! That's the big news to start. And while I'm super behind at getting things out I thought I should note this real quick... a good friend of mine, Lisette DeBoisblanc, has a show up in the Atlanta Airport. I hear the work is in a great location and visiable with other work(s). So if your passing though make sure you keep an eye out. About the show: "The Airport Show: Big, bold, brash and beautiful! Come see the best of APG in an exhibition of large-scale work lighting up the Atrium Gallery at the Atlanta Airport. Jurored by Amy Miller, Executive Director of Atlanta Celebrates Photography."
Neat. And here is an excerpt about Lisette's work:
"When facing tragedy or complications, it is not uncommon for a person to seek help from a therapist to peel back the layers of the mind to overcome psychological barriers. Like a therapist, I am interested in how life experiences shape our being. This is not only physical appearances, but also our inner essence. Like a scientist, I turn to x-rays, which allow me to uncover secrets beneath the surface. By x-raying dolls I use the visual language of science to symbolize the human persona and bring it to two-dimensional form.
As a New Orleans native, five years ago I felt the tragedy of hurricane Katrina as my family was profoundly affected by the storm. We suffered not only by losing physical possessions, but we endured psychological damage as well. After finding my grandmother’s ruined doll collection, leftovers from her personal belongings, I began to x-ray them for documentation and curiosity. I am shocked with my findings; nails and pins pierced their bodies below the surface. Suddenly, the doll has an aura that is almost human, with internal workings that chronicle a life lived, an internal spirit, sometimes with strength, and others with a broken heart. I discovered that these x-rays reached beyond documentation and physical deterioration; for each, a story emerged, some sense out of my loss."
I have had the pleasure of looking at some of the work in person and looking at it over the web really doesn't do it justice. So if you are passing though ATL do make sure you keep an eye open. But in the case that your not, here's the web version:
Really amazing stuff. Anyway, fingers crossed there will be more stuff to come soon. Busy times on the other end of this screen...
Stay tuned...
So as things go, I had hoped to just post a quick roundup of people I met up with at Midwest SPE but that sadly is going to have to wait until I get my computer back. If you didn't notice the tweets, yes sadly, my computer fell victim to the Nvidia recall in the way where my computer stops working. So...more to come at some point. But not at this point. Anyway, keep on keepin' on and there will be a note in the future.
Cheers.
Just a quick post today. I arrived a bit late in the day but I was able to catch the lecture by Lucy Lippard. Really inspiring to listen to as she tied together work of a lot of great photographers like Robert Adams, Joe Deal, Amy Stien... just to name a few of many. Hopefully her talk will end up somewhere on the SPE website. It would definitely would be worth a read if it did.
More to come tomorrow. If you're around make sure you drop me a line and maybe we can connect.
Cheers
So I've been a terrible blogger as of lately but there are a couple of things I wanted to post real quick. A good friend of mine Christin Boggs is having a show at the RRCDC: Rochester Regional Community Design Center. The opening reception is 6 - 9 Friday, October 01, 2010
From brief excerpt from the release:
"Slow & Steady, a thesis exhibition by Rochester Institute of Technology’s Masters of Fine Arts candidate Christin Boggs, examines the contemporary movement away from mass-produced foods in a return to traditional modes of food production and preparation. Photographs depict scenes from community gardens, Community Supported Agriculture (CSA) farms, and farmers markets within the greater Rochester region."
If you're in the area, try and get out and see the work.
I unfortunately won't be able to make it because I am pretty far from RIT but a show I will be attending is one at the Fire Barn Gallery in Grand Haven, MI.
Victoria Veenstra is having a show from September 22 - October 9th 2010. With the opening reception tomorrow night (Sept. 22) from 6:30 - 8pm, everybody come out and see the work!
Here's the address:
The Fire Barn Grand Haven, MI 18 N 5th St Grand Haven, MI 49417
I don't have any pics for this one but I hope to see you there!
Cheers.
This was just for fun because it was extremely windy/beautiful/I had my camera. Have a good weekend.
Gale Force Winds on Lake Michigan from Nate on Vimeo.
Have a good one.
I have been going not stop as of lately but I'm glad I took 5min out to watch this beautiful animation that Jenn brought to my attention. It's part of the StoryCorps movement (something I did years back in NYC, there's a permeant booth there and it's free to share a story(ies), if you're in the NYC area get on it, such an amazing project). "Danny & Annie" is one of the most beautiful things I have watched as of lately and I strongly recommend it. You'll probably want to grab a kleenex because it's pretty moving but if you have 5min... do listen.
Words fail me after watching it.
I'm Back! And again I've been working with Daylight Magazine to create a media segment for Nick Hannes titled "Red Journey" and features a selection of his images. The project itself is massive undertaking. It spans a tremendous amount of physical space and covers a multitude of cultural issues. I feel it's a extremely strong project and presents an important story. It was an again an honor to work with Daylight Magazine and Nick Hannes.
Here's a little excerpt from the site:
Belgian photographer Nick Hannes spent a year travelling through the fifteen former Soviet republics in search of traces of the past and signs of social transition. Red Journey uncovers the various ways in which former Soviet countries are trying to redefine their national identity after the disintegration of the communist imperium. Hannes shows a region of contrasts by photographing extreme wealth amid heart-rending poverty, unrestrained urban renewal that makes deprived neighbourhoods all the more visible, new dictator’s gilt cult images in a decor of faded glory.
I think it turned out great and I was happy to hear that it has been received well.
Again, like the last segment, I’m credited in the segment as “Multimedia Producer” and by movie credit standards I’m not acting as a producer. Yes, I am “producing it” and “actually making it” (sequencing it, adjusting everything that is associated with editing) but by movie, television standards I’m the producer but rather the editor. It’s an odd choice of words here but I am not the director (also in reference to it’s traditional definition, and also not used in it's most traditional form the credits, again, odd I know…). At the end of the day, I’m not in charge about how to word the credits. But I did edit this and I just wanted to note that. Also, I wanted to note that Dave Runyan was the audio engineer on the interview. I was given really rough interview audio and the fist thing I thought was, “this is unusable and needs to be worked over…” and without question thought of Dave. He’s top notch when it comes to audio so I went to him.
Also, I should say that I've been a terrible blogger as of lately but things have been insanely busy for me. Hopefully new posts and fun things will follow.
Cheers.
Many of you know I have a long history of editing and composing segments for various purposes but I hold a deep respect for Daylight Magazine and it's great pleasure to create media for them. For the last week or so I have been working with Daylight magazine, and indirectly with Will Steacy, to put together a media segment. Will is having a show at the Michael Mazzeo Gallery in New York City and the segment I recently edited is now live on the Daylight Magazine Multimedia podcast page. It's also going to be shown at the opening reception for the Michael Mazzeo Gallery. I find Will's work to be both powerful and meaningful. His photographs have an intensity that resonates though their story. His images also bring to light a national discussion about how our urban environments are evolving.
From the Daylight page:
In "Down These Mean Streets" Will Steacy wanders through battered urban areas with a wrench in his back pocket. Barney Kulok and Paul Graham come to mind when looking through these images of abandoned buildings, burned-out cars, neon signs and local residents. The city glows, strangely beautiful but vaguely threatening, as a picture of urbanity and its attendant vices - it is not a forgiving portrait. This podcast produced in conjunction with the Michael Mazzeo Gallery for Steacy's show on view June 10 - July 23rd 2010. Read an exclusive, in-depth piece about "Down These Mean Streets" at Conscientious Extended.
And you can also see the segment by clicking on the image below:
That's it for now. We'll see what makes it up later this week. Make sure you hit some of those links or watch the segment and if you're in NYC you should go to the show because I imagine that the images are pretty amazing in person. If given the opportunity, I'd check it out. Hopefully I'll get that chance.
Also, on a side note, I'm credited in the segment as "Multimedia Producer" and by movie credit standards I'm not acting as a producer. Yes, I am "producing it" and "actually making it" (sequencing it, adjusting everything that is associated with editing) but by movie, television standards I'm the producer but rather the editor. It's an odd choice of words here but I am not the director (also in reference to it's traditional definition, and also not used in the credits, again, odd I know...) thus, I'm not in charge about how to word the credits. But I did edit this and I just wanted to note that. Also, I wanted to note that Dave Runyan was the audio engineer on the interview. I was given really rough interview audio and the fist thing I thought was, "this is unusable and needs to be worked over..." and without question thought of Dave. He's top notch when it comes to audio so I went to him.
Cheers.
More to come.
So I haven't posted anything in weeks...maybe it's because I needed an unannounced impromptu vacation from blogging or maybe because I've been a bit more busy that I had expected. In either case, I've been inspired and I'm back in action. What inspired me? Ah, good question. I'm glad you asked. Check this stuff out and stay tuned for some odds and ends to come this coming week....
Cheers.
100+ miles? Yes.
and this...
@BrainFarmCinema, you should hire me.
It feels like it's taken forever to get these images up on the ole' blog but I'm glad they are now up for the world to see. I also have to send out a huge thanks to Laith and CAVE for making the show possible. It was a great turnout and everyone I met was totally into the work. These are some of the shots I grabbed of my work, Laith's and CAVE in general while walking around. If you were there and had any thoughts on the show send em' my way, I'd be interested to see what you thought. Anyway, if you happened to make it out, thanks for coming and again, thanks Laith and CAVE for a great show. It's up until the 15th so if your in the area stop by and check it out. And the images...
More to come...
So I've been busy all week with the upcoming show "Duo." If you're in the detroit area make sure you check it out! Info below...
The Details:
DUO Nate Abramowski and Laith Karmo
Cave is pleased to present DUO, a two person exhibition with Nate Abramowski and Laith Karmo, on Friday April 30th 2010. The opening reception will be from 7-11pm and the show will be up through May 15th.
In bringing these two artists together, DUO traverses time, the history of man, and the displacement of preconceptions and stereotypes. As both explore moments of reflection- exposing the imaginative and revealing vulnerability- confronting and navigating these relationships presents itself in fresh form.
Nate Abramowski received his Bachelors of Science in Film production and Bachelor of Science in photography from Grand Valley State University in Allendale, Michigan and a Masters of Fine Art in photography from Savannah College of Art and Design in Savannah, Georgia. Nate is currently working in Chicago as a photographer and editor.
Laith Karmo received a Bachelors of Fine Art from the College for Creative Studies in Detroit, Michigan, and a Masters of Fine Art from Cranbrook Academy of Art in Bloomfield Hills, Michigan. He has taught at Wayne State University in Detroit and is currently teaching at Oakland Community College in Auburn Hills Michigan.
Another quick one seening this is a pretty "action packed" Friday but there's at least a minute for a little musical distraction. This Friday it's Letting Up Despite Great Faults "Our Younger Noise". Now, you'd think after all my "tweets" about the National I'd post something by them, but(!) they don't have video yet (for their new release, High Violet).... so I thought I'd just hang back one more week to see if somthing srufaces. Besides, there is this lovely video by Christopher j Ewing (part of wested potential productions). I totally dig it. It's playfulness really matches the video. I was turned on to Letting Up Despite Great Faults awhile ago by some blog I can't remember but I'm glad that I've been loosly following them because this song + video is a gem.
Letting Up Despite Great Faults: "Our Younger Noise" from Christopher j Ewing on Vimeo.
Anyway, that's about all the time I have here. So where ever you may be this weekend may it be a fun one.
Be safe out there...
cheers.
So last year at the 46th Annual Society for Photographic Education National Conference in Dallas, Texas - the Texas Woman's University was putting together a book that called Booth 55. The book tackles the question, “How has your photographic education impacted the way you see the world in relation to the arts?” It apparently, "...book began with a vision to bring photography students together, each with a unique voice, to capture and express diverse viewpoints from universities throughout the United States..."
Which is a pretty cool idea in itself. The "Published" title of this post originates from the fact that I popped into Booth 55 to jot down my quote and have my head shot taken. Now that same quote (which I can't remember what I said) appears with the head shot in the Blurb, Booth 55 book website.
And, the book is arranged alphabetically - yours truly has an "Ab" last name so I lead the book with my quote and serious stare. Neat. If you remember stopping by Booth 55 you might want to check out the book on Blurb.
Anyway, more to come.
Cheers.
This is totally awesome because it involves photography and bikes. I dig both those things.
Men's Journal Magazine May 2010 Cyclocross Fashion Shoot from Dylan Coulter on Vimeo.
Lets just start off with a little Happy Friday to everyone. I know I've already posted on Blaudzun before but it seemed like whenever i headed for iTunes this week, I've gone straight for Blaudzun. And with a quick google search I found a video that missed last time around. Hence this second post on Blaudzun. Plus, this happens to be my blog and last time I checked I didn't have a rule that stated I can only post music once. That's good. Anyway, check it out if your a fan. I totally am.
Sadly this is a quick one today seeing I have some things to do but whatever you're up to this weekend...be safe out there.
Cheers.
Again this week I find myself lucky to have another talented photographer to feature on the blog. It's been several weeks since I first met Greg Jones but via the power of email he was nice enough to answer some of my questions this week. His style and content have a distinguished presentation that led me to want to know more about his work.
[me] It’s been awhile since we last talked about your work, I was wondering could you restate your artist statement here for myself and others reading.
[Greg] You could call these photos my own particular take on street photography, and they're heavily influenced by the Paris/New York street photography from the mid-twentieth century. Rather than capturing the single, "decisive moment" however, these photos are composites of multiple moments of a single scene stitched together into a single frame.
Outside of some contemporary artists like Jeff wall who really focus their work around the tradition of pictoralism, and Crewdson's take on narrative-driven scenes, I look a lot towards old European landscape painters like Claude Lorrain and William Marlow (among many, many others).
Those types of paintings, which show human presence within intimate landscapes and environments, touch on something that I think has become lost in contemporary art. I suppose that something has to do with our experiences in the world, and our interactions within it. Perhaps even a type of sensitivity to our condition on this planet, which is strange when you think about it. Above all else, I think what I'm trying to do is to establish a link with those old paintings to show that at the core of our experience, there really isn't all that much that has changed. You could even say that my method of working, bringing together different points in time, reflects that attitude as well.
[me] Your work contains a tremendous amount of tension in seemingly mundane environments, do you have preconceived ideas about what you would like to see and say, or is your statement on the contemporary landscape a more visceral creation?
[Greg] The photographs themselves are purely visceral. When I'm out shooting, its always just a matter of seeing and reacting. However there are things I'm always looking for, both formally (quality of light, compositional complexity, systems of spacial depth and color) and well as pictorially (character of place, activity within the scene, details). Beyond the photographs themselves, I'm always aware of the type of tradition that I'm working in. Although my methods of working fit more within the more progressive stream of photography, I never feel so far removed from all the Cartier-Bressons and the Todd Webbs in terms of intention and attitude, and those are the types of photographers that I admire.
[me] I constantly hear from people that any given city has a "dying downtown" or is "dead" after the workday, your more "city-esque" pictures seem to echo this pensive conversation, is this a particular sediment of yours or something else entirely?
[Greg] I think that's an interesting reading of the work, but I don't really see it in that vain, and its certainly not what I think about when I'm shooting. While we're on the topic of the city though, I should note that these were all shot in Rochester, NY. I think the tradition of photography in this city has done a lot to influence my work. I even have a photo in the portfolio where you can see the Kodak building in the background.
[me] In contrast, your more rural images seem to have an inherent sadness to them, is this an element I am introducing with my interpretation? Is this something others have noted or not at all?
[Greg] There hasn't been anyone who's specifically noted the inherent sadness that you see, but I certainly wouldn't argue with that. I think all art should invoke some type of emotional response, even the more conceptual based stuff. We're hard-wired to experience things emotionally before we're able to rationalize them. Without being able to feel a work of art, we would never be able to form a meaningful interpretation of it. And this is why craft is important too, because when we find flaws in a work of art, the illusion is broken and that emotional response becomes lost.
[me] Where do you hope to take this work?
[Greg] I've just begun to promote it, and I'm looking to do some gallery shows in the near future. Of course, its still developing, and I continue to surprise myself with the twists and turns that the work takes as it develops. I will have some tough decisions coming up soon in terms of where I'm going to go and exactly what I'm going to do (I'm finishing my B.F.A. in May). Right now I'm considering teaching English abroad for a year or two. I'm looking to find new environments and experiences for both my work and myself.
So there you go. I remember when I first saw the work of Greg Jones. I was really taken by it but I didn't have that much time to get into it and I'm really thankful that I had the opportunity to ask him a few questions that came to mind.
As with all artists I write or interview make sure you stop by their sites a to see more. In the case of, Greg there are quite a few more images on his site and you'll be able to get a better sense of what's going on.
Top quality all around. I just want to mention again, that if you're reading this and have some work you would like to share feel free to contact me and I'll be more than happy to get it out there for you. All you have to do is ask.
As far as today goes...I gotta post and run. Check back later for maybe a post in between here and Music Friday.
Cheers.
A little something from the archive today as it seems time is slipping away... Check back tomorrow for the interview series to continue. Tomorrow Greg E Jones has been nice enough to sit down and chat about his work. Really good stuff.
Until then...
Be safe out there...
