Sunday, December 20, 2009
Job Description: Visit www.nationalgeographic.com/jobs and click on job ID 3985.
Type of Job: Internship
Job Location: District of Columbia
Company Name NATIONAL GEOGRAPHIC SOCIETY
Flak Photo is a daily photography website that celebrates the art & culture of photography online. Produced by Andy Adams, the site highlights new series work, book projects and gallery exhibitions from an international community of contributors.
An online gallery and social media magazine, Flak Photo provides unique opportunities for artists and photography organizations to share their work with a community of photographers, galleries, publishers, curators and editors. To submit your work for consideration, email your photograph (sRGB JPG format, minimum 1000px wide) with title and caption details to email@example.com. Please include the following information with your submission:
- Place of capture, including city, state / province and country (if applicable)
- Is the image part of a series that's available online? What's the URL?
- Your website URL
Naturally, photographers retain all copyright on submitted materials. Contributors are formally credited and Flak Photo's style is to link the credit to a contributor's website.
Interested in what photo books will look like in 2019?
Miki Johnson over at RESOLVE, the liveBooks blog, and Andy Adams of Flak Photo have started an online resource that contains all the various discussions about the future of the photo book going on right now in the online photo community. The post is unique in that it is a collaboration of several different blogs to contribute on the same topic - photobooks.
The juried exhibition “Illumination” is open to national and international artists of all levels. Entries to this call should either be constructed using light or explore light as subject matter. To be considered, an entry form, entry fee, artist statement and digital images of the artwork should be submitted to Desotorow Gallery by 5pm, Jan. 8. A $15 submission fee allows for the submission of up to 3 pieces of work. Artists will receive notification of the list of selected pieces through email on Jan. 11.
Further information about submitting work for the exhibition “Illumination,” including a complete list of dates, submission guidelines and forms, can be found at http://www.desotorow.org/exhibits/call.html.
Any questions about Desotorow Gallery and this exhibition can be addressed by calling 912.355.8204 or emailing firstname.lastname@example.org.
Monday, December 14, 2009
Larry Sultan, a highly influential California photographer whose 1977 collaboration, “Evidence” — a book made up solely of pictures culled from vast industrial and government archives — became a watershed in the history of art photography, died on Sunday at his home in Greenbrae, Calif. He was 63.
The cause was cancer, said his wife, Katherine, who is known as Kelly.
In the mid 1970s using a grant and a letter of introduction from the National Endowment for the Arts, Mr. Sultan and Mike Mandel, who had met as students at the San Francisco Art Institute, somehow managed to persuade several large companies, agencies and research institutions like the Bechtel Corporation, the Jet Propulsion Laboratory, the San Jose Police Department and the United States Department of the Interior to let them rummage through their documentary photo files.
Highly influenced by the West Coast brand of Conceptualism then percolating out of places like the California Institute of the Arts, both men were interested, as Mr. Mandel later said, in exploring photography as “more than just the modernist practice of fine-tuning your style and way of seeing.” The pictures they chose from the archives, out of the hundreds of thousands they examined, were a strange, stark, sometimes disturbing vision of a late-industrial world: a space-suited figure sprawled face down on a carpeted floor; a car consumed in flames; a man holding up a tangle of weeds like a trophy; a shaved monkey being held down by a gloved hand.
Some of the images seemed to have been picked for their uncanny resemblance to installation art being made at the time. But the 59 photos published, with no captions to explain what they showed or where they came from, pursued a much broader, Duchampian agenda of harnessing found photographs for the purposes of art while using them as a way to examine the society that produced them. The critic Kenneth Baker of The San Francisco Chronicle wrote that the project demonstrated brilliantly the degree to which “we have no calculus to unravel relations between what a picture shows and what it explains.”
Along with other artwork using vernacular photographs, like that of Michael Lesy in his book “Wisconsin Death Trip” and of Richard Prince, the project, first shown at the San Francisco Museum of Modern Art, opened broad new avenues for photography that have since been explored by major museums and by artists like Christian Boltanski and Carrie Mae Weems.
Born in Brooklyn, Mr. Sultan was raised mostly in Los Angeles, where his family moved when he was an infant and where his father worked as a traveling salesman and later as a vice president for the Schick Safety Razor Company.
Not initially interested in photography, Mr. Sultan studied political science at the University of California at Santa Barbara and later earned a master’s degree in fine arts from the San Francisco Art Institute. Before he and Mr. Mandel began working on “Evidence,” they collaborated on another project in which they bought space on billboards around Los Angeles and posted traffic-slowing Dada-esque messages. One bore the announcement “Oranges on Fire,” and showed two cartoonish arms holding a bunch of flaming oranges.
For more than a decade beginning in the early 1980s, Mr. Sultan, who became a professor at the California College of the Arts in San Francisco, worked on a project about his mother and his father, who had been forced into early retirement. Using stills from home movies along with lush, colored-saturated pictures he took of his parents, the resulting book, “Pictures From Home,” was a deeply personal document but one that continued Mr. Sultan’s lifelong mission of exploring photography’s fictions.
Mr. Sultan’s father, Irving, speaking of a picture of himself in a suit sitting on the edge of a bed with a vacant stare on his face, related how his son had instructed him not to smile and had created a portrait that the elder Mr. Sultan felt was much more about the photographer than the photographed.
“ ‘Any time you show that picture,’ ” Mr. Sultan said his father told him, “‘you tell people that that’s not me sitting on the bed looking all dressed up and nowhere to go, depressed. That’s you sitting on the bed, and I am happy to help you with the project, but let’s get things straight here.’ ” His parents died not long after the work was completed.
In addition to his wife, Mr. Sultan is survived by two sons, Max and Will, both of Greenbrae; and two brothers, Michael, of Pacific Palisades, Calif., and Kenneth, of Santa Barbara.
In the 1990s, Mr. Sultan began to photograph in the San Fernando Valley, near when he went to high school, shooting suburban homes that were being rented as sets for pornographic movies. Sandra S. Phillips, the photography curator at the San Francisco Museum of Modern Art, said that while the work, called “The Valley,” was “nominally about the industry of adult sexual fantasy, the true subject of Sultan’s pictures is how photography is used in the construction of that fantasy.”
Writing in LA Weekly about the work in 2004, Mr. Sultan observed of one particular set: “The furnishings and objects in the house, which have been carefully arranged, become estranged from their intended function. The roll of paper towels on the coffee table, the bed linens in a pile by the door, the shoes under the bed are transformed into props or the residue of unseen but very imaginable actions. Even the piece of half-eaten pie on the kitchen counter arouses suspicion.”
Source | New York Times
Friday, December 4, 2009
This is a good article, written by an art buyer, with some good advice on branding and identity as a creative professional: Ask an Art Buyer: The Importance of Branding and Other Things
A couple of things stick out to me. First, while branding is important, don't put effort into your brand at the expense of your work:
"I don’t mind if photographers want to bling out their promos for extra attention as long as the quality of the work goes along with it. What I don’t dig, is photographers spending what looks like a ton of money on business cards, expensive promos or portfolios meanwhile they really need to spend more time crafting their work."
And second, in the example used in the article, the photographer hired a designer to craft his identity and put together his marketing materials:
"I decided to hire a designer to create my look on market. As a photographer who appreciates good design, I saw the benefit in hiring a professional to help establish something memorable and edgy to represent my style."
As photographers we bring value to our clients through our experience and expertise in our medium. Unless you're also a graphic designer, why wouldn't you want to hire a professional to bring that value to your identity? The investment is absolutely worth it, and it doesn't have to be a big cash outlay. Make contact with students in the graphic design program and trade work with them - designers frequently need good photography for their projects and many will be more than happy to work on an identity design for you in exchange.
Thursday, December 3, 2009
Nice looking startup online photo magazine, with open call for submission:
Welcome to Pictory!
I love photography. Few things make me happier than a beautiful image—online or in print. That said, I’ve become a little complacent about some photos. The Internet is brimming with eye candy, but the vast majority of these images have lost their original context. Photo credits are rare and captions usually garbled, so I find myself often wondering: Who made this? What does it mean? The forces of the Internet can sometimes turn good work into confusing shrapnel.
I hope to do the opposite with Pictory. I want to collect images and stories directly from their sources: the people who create them. And then I want to make the best work that much better by editing, proofing, and compiling submissions into glossy online showcases. Big images. Careful details. Practical design. Credit and context.
Maybe it’s a new model for online magazines. Or, maybe it’s just the best I can do from my living room.
In any case, it’s a humble start, and it needs you. Enjoy the features, share Pictory with your friends, submit to the themes, and don’t be afraid to tell me what you think the site needs.
—Laura Brunow Miner, Editor/Designer/Founder
(via Daring Fireball)
Wednesday, December 2, 2009
The juried exhibition “In Progress” is open to national and international artists of all levels. To be considered, an entry form, entry fee, artist statement and digital images of the artwork should be submitted to Desotorow Gallery by 5pm, Dec. 11. A $15 submission fee allows for the submission of up to 3 pieces of work. Artists will receive notification of the list of selected pieces through email on Dec. 14.
Further information about submitting work for the exhibition “In Progress,” including a complete list of dates, submission guidelines and forms, can be found at http://desotorow.org/opportunities/inprogress.html.
Any questions about Desotorow Gallery and this exhibition can be addressed by calling 912.355.8204 or emailing email@example.com.
CCNY invites emerging photographers who are not enrolled in college or graduate photo programs to apply for a three-month darkroom residency at its facility at 336 West 37th Street, New York City.
A jury will select four residents for the 2010 year. Residents will receive cash stipends and will have access to CCNY's darkrooms (both color and B&W) and shooting studio, with up to three printing/shooting sessions per week during a three-month term. (Please note that living accommodations are not provided.)
Please mail a CD with 10 images (jpg files only, at 72dpi, approx. 1024 x 768 pixels, no more than 1 MB total each image) with CV and separate image description list (provide: title, date, medium, dimension for each image) and any other support materials to:
Camera Club of New York (CCNY)
Attn: Residency Program
336 West 37th St, Suite 206
New York, NY 10018-4212.
Postmark deadline is December 5, 2009. Please be sure to name and label your CD and include SASE for return of materials.
Decisions will be announced by December 20, 2009. The first residency begins Jan 4, 2010.
This program is supported by the New York State Council for the Arts. For questions, email
CCNY at firstname.lastname@example.org
Tuesday, November 17, 2009
This year’s College Art Association conference hosts an unprecedented amount of Professional Development workshops and Mentoring Sessions for Students, Emerging Artists and Arts Professionals. The Student and Emerging Professionals lounge offers additional opportunities for students and recent graduates to meet and network with peers and other professionals in their extended community. The Early Registration deadline for the 2010 Conference in Chicago is growing near. Click on the flyer image to enlarge and/or print.
For more information, contact:
212-691-1051 ext. 252 V
Washington, D.C. - J-Lab: The Institute for Interactive Journalism at American University has received a $200,000 grant from the McCormick Foundation to fund eight women-led start-ups over the next two years that will generate new ideas in the world of news and information and model a spirit of journalistic entrepreneurship.
The grant also supports annual New Media Women Entrepreneurs Summits. The first summit, to be held Monday, Nov. 9, in Washington, D.C., will provide a forum for women launching innovative news projects to meet and exchange ideas. During the summit, J-Lab will release new research about women news creators and news consumers. See the agenda and register here: http://www.newmediawomen.org/events/register/
Under the new grant, a total of eight winners (four in 2010 and four in 2011) will be given $12,000 each in funding to launch their ideas and to blog about the process during the first year of their projects. The deadline for next year’s proposals is April 12, 2010. See guidelines and applications here: http://www.newmediawomen.org/site/proposal_guidelines/
The funding is part of a unique initiative to address issues of opportunity and innovation, recruitment and retention for women in journalism. Under the initial support from the McCormick Foundation, six projects have been funded and three have launched. See them at www.newmediawomen.org.
The new grant from the McCormick Foundation:
- Provides a $12,000 award for each of eight women to launch their new ideas. Four winners will be chosen in 2010 and another four in 2011.
- Honors a New Media Woman Entrepreneur of the Year in an awards program.
- Produces a day-long annual summit to showcase the work of women media entrepreneurs.
- Collects ideas, research and more at www.newmediawomen.org.
“Our new research is giving us important insights into how women news creators are redefining and shaping the news of the future,” said Jan Schaffer, executive director of J-Lab, which administers the project.
“We are pleased to work with J-Lab to recognize the most innovative and entrepreneurial media projects created by women journalists,” said Clark Bell, the McCormick Foundation’s journalism program director. “The expansion of this initiative reflects the interest, need and demand for promising new ideas.”
Eligible to apply for NMWE funding are new Web sites, mobile news services or other ideas that offer interactive opportunities to engage, inspire and improve news and information locally, nationally or among a community of interest. These can be solo ideas or team projects headed by women.
NMWE seeks to map the creative assets of women, validate ideas, and help newsrooms take some cues from big business, where top companies are disproportionately tapping women to develop creative, consumer-oriented cultures.
Check out existing research, suggest new research, nominate award winners and read the funding guidelines at www.newmediawomen.org.
The McCormick New Media Women Entrepreneurs initiative is a project of J-Lab, a center of American University’s School of Communication. J-Lab helps news organizations and citizens use new media technologies to create fresh ways for people to participate in public life. It also administers the Knight-Batten Awards for Innovations in Journalism, the Knight Citizen News Network and the New Voices community media grant program.
The McCormick Foundation supports free, vigorous and diverse news media that provide citizens the vital information they need to make reasoned decisions in a democracy. The Journalism Program supports non-profit initiatives that enhance news content, build audiences and protect the rights of journalists.
Monday, November 9, 2009
Kelli Connell, whose photography exhibition opens in the Kendall Gallery on November 3, will give a gallery talk on Tuesday, November 10 at 11:30 am. This event is free and open to the public.
This show will be up Nov. 10 - Dec. 7 at the Kendall Gallery (111 Division Ave.)
Sunday, November 8, 2009
BY GREG ON NOVEMBER 6, 2009 IN FROM GREG'S DESK
Every week I get phone calls and emails from assistants wanting to work on my crew. Those that call wanting to be assistants I ask one short question:
“Do you see yourself as a 1st assistant or a 2nd or 3rd?”
Some reply , “1st.” Then I say that I already have my 1st, and I typically ask my 1st who he/she would like to hire a 2nd or 3rd. If my 1st does not have anyone in mind, or all his/her choices are booked, I move on and ask my producer. On rare occasions I have had assistants come into the studio and meet with me and the next day or two I had a shoot and they got hired. I have never hired a first assistant this way. 1st assistants always come through recommendations from other people I really trust, or from a former 2nd stepping up to the plate.
If you are looking for work as an assistant I recommend the following:
Meet all the other 1st assistants out there that you can, as these are the people who will hire you, not the photographer.
Next, meet all the Producers for still imagery you can.
If you are just starting out in the field, try your best to work at a studio rental house such as Milk or Industria or any number of other studios at there in large cities. That way you will meet other assistants, producers and photographers in the field. You may also find your way on-set, learn gear and shoot protocol.
I will post some interviews from newbie assistants in the filed who are out there pounding the pavement on my blog at www.gregceoblog.com
Get your entries in to the PDNedu Student Photo Contest 2010 before the December 7th deadline!
Even if you don't intend to enter, you can vote for your fellow GVSU photo majors in the People's Choice category. Click HERE to see the entries.
If you are a GVSU photography major and have entered the contest, leave a comment with your name so people can look for your entries.
Tuesday, November 3, 2009
30th Annual College Photography Contest
Sponsored by NIKON
FINAL Entry Deadine: November 23, 2009 ($4.95 each)
Photographer's Forum Magazine
Serbin Communications, Inc.
Friday, October 30, 2009
THE IMPOSSIBLE PROJECT INSPIRES POLAROID® TO
RELAUNCH INSTANT CAMERAS
we can not wait another day to proudly bring you some very important news which was presented by Polaroid itself at a press conference on October 13th in Hongkong.THE IMPOSSIBLE POLAROIDAfter all the difficulties and changes of ownership during the last years, the new management of Polaroid now understands the source of the brand's attraction - which is surprisingly not based in digital cameras but in Dr. Edwin Land's groundbreaking 1948 invention of Instant Photography, which he ingeniously devised and passionately developed with a lot of care and devotion.
We have understood this since 2005, when it was our honour and pleasure to celebrate and evoke the sensational and almost mysterious power of Instant Photography in memoriam of Dr. Land. Doing everything in our power to keep this beloved and unique photographic medium alive, we grabbed the chance to take over the last factory producing Instant films from the old Polaroid management and to start The Impossible Project in 2008. Re-inventing a new analog integral film, we are now preparing, supporting and managing the comeback of Instant Photography.
Accomplishing this mission and proudly owning the former Polaroid plant in Enschede (NL), as well as already holding the first working hand-coated samples in our trembling hands, we are pleased to herewith announce a history-making cooperation between The Impossible Project and Polaroid:Polaroid will re-launch the legendary Polaroid One Step Camera and is therefore commissioning The Impossible Project to develop and produce a limited edition of Polaroid® branded Instant Films in the middle of 2010.[Photo]We feel proud and excited that our ambitions and all the relentless work we have already invested are now becoming the foundation for Polaroid's comeback as a producer of Instant Cameras.
Large-scale production and worldwide sale of The Impossible Project's new integral film materials under its own brand will already start in the beginning of 2010 - with a brand new and astonishing black and white Instant Film and the first colour films to follow in the course of the year.
On Tuesday, I went to a panel discussion led by creative consultant Louisa Curtis that centered on the photo industry from the reps’ perspective. The event was geared toward photographers, so the questions were mostly about how the reps market their agencies and their photographers; what they expect from someone they rep; and the importance of relationships and networking.
The panelists were Neil Binkley of Wonderful Machine, David Laidler of Aurora Select, Frank Meo of Meo Represents, Laura Reid of Redux, Tricia Scott of MergeLeft, Robert Bacall of Robert Bacall Representatives, and Gary Hurewitz of Greenhouse Reps.
For me, these were some of the most interesting points made at the event, which was held at Adorama:
Product photography is going the way of CGI. Robert Bacall noted that still life used to be his bread and butter. Then he gestured to a water bottle at his side and remarked that you might see that bottle in an ad, but it never actually existed—it was all created on the computer.
It’s not enough to shoot great photos. Many of the reps are encouraging their photographers to expand into video. At Stockland Martel, we’ve been referring to our talent as image makers, an intentionally broad term. Bacall uses the term “media solution providers.”
E-blasts are out, and direct mail is back in. Well, that’s how the panelists first explained their take on the efficacy of email marketing. They eventually acknowledged that they all still send out e-blasts, but they weren’t very enthusiastic about them as a marketing tool. Everyone talked about how art buyers and creatives spend half their day just deleting emails from their inbox without reading them because they are overwhelmed. A print piece that shows up in their stack of snail mail, on the other hand, at least guarantees that the recipient will see the image and the name. Gary Hurewitz said he’d all but abandoned e-blasts a couple of years ago, when he noticed that everyone else was doing it. He figured if there were fewer direct-mail pieces going out, then his had a better chance of being seen. Makes sense.
Photographers need to market themselves and not rely on Mommy and Daddy (I mean, their reps) to do it all for them. No further explanation needed on that one…
This is a relationship business, and you have to network. Get out there and make a physical appearance in the photo community, urged Tricia Scott. Facebooking and emailing are not enough; the old-fashioned in-person conversation is still king when it comes to making a solid connection with someone.
Because this is a relationship business, people want to work with photographers they get along with. The reps have a brand they’re trying to protect too (for the benefit of their talent as well as themselves), and it’s just not an option to send out a photographer who’s going to ego-trip his way through a project and irritates the client. That’s why, the panelists explained, when a rep looks at a potential new photographer, they assess not just the work but also the personality behind it.
You have to spend money to make money. A major cliché, I know. But it came up several times. Bacall once ponied up $22,000 to promote a photographer’s baby images. The promo, which was as clever as it was costly, consisted of Fisher Price View Masters for which he had created custom reels of the photographer’s work. A cute way to get potential clients to look at the work while providing a tangible indication of the photographer’s affinity with kids.
Louisa tells me that she lists upcoming events in her monthly Chatterbulletin, which she archives at her blog.
Source | http://stocklandmartelblog.com/2009/10/01/out-of-the-mouths-of-reps/
Stockland Martel Blog Writer
Click on the image to enlarge and/or print.
We are currently accepting submissions for our fourth annual juried show - New Directions.
New Directions seeks to discover new talent in the world of photography. Past shows have included the works of Joseph O. Holmes, Priya Kambli and Joelle Jensen. Each year emerging artists have an opportunity to have their work seen by a nationally recognized figure in the field of photography. From these entries a cohesive show emerges for display at Wall Space in January, and this year we are excited to have 23 Sandy Gallery in Portland join forces to show ND10 in Portland during the month of February.
All submissions for this exhibition are considered for gallery representation. wall space directors and associates, as well as 23 Sandy Gallery will review the work, however the galleries review will not affect the outcome of the selection process.
Juror - Carol McCusker, PhD - Curator of Photography, Museum of Photographic Arts (MoPA), San Diego, CA
About Ms. McCusker
Carol McCusker is curator of photography at the Museum of Photographic Arts, San Diego. She received her Ph.D. in art history with an emphasis on the history of photography and film history at the University of New Mexico (UNM), Albuquerque. She has curated numerous exhibitions at MoPA and UNM, and is contributing author to Paul Outerbridge (Taschen, 1999); First Photographs: William Henry Fox Talbot and The Birth of Photography (powerHouse, 2002); James Fee: The Peleliu Project (Seraphin, 2002); Phil Stern: A Life's Work (powerHouse, 2003); Terry Falke: Observations in an Occupied Wilderness (Chronicle, 2006); and Breaking the Frame: Pioneering Women in Photojournalism (MoPA, 2006) The Roads Most Traveled: Migration Photographs by Don Bartletti (2006), Rebels & Revelers: Experimental Decades 1970s-1980s (2007), Public Privacy: Wendy Richmond's Surreptitious Cellphone (2007), and The Photographer's Eye (2008) McCusker's freelance writing has been published in The Photo Review, Communication Arts, and she is a regular contributor to B&W and Color magazines. In recent years, McCusker has reviewed portfolios at Houston Fotofest, Review Santa Fe, Photo L.A., Atlanta Celebrates Photography, Photo Lucida, and in November, the Lishui Photo Festival, China. She was also a nominator for the 2009 ICP Infinity Awards, and a Juror for the 2008 Julia Dean Berenice Abbott Award.
The request from Ms. McCusker -
This call for entries privileges two points of view: looking down from a high vantage point, and looking out to a vanishing horizon. Art historian, Albert Boime, described the former as a "Magisterial Gaze" that gave early Americans, through painting and printmaking, a view at one with God, hence, Manifest Destiny. The latter may simply be the romance of the road, or curiosity about what lies just out of sight - an American impulse from early pioneers to Jack Kerouac.
Numerous painters and photographers have employed these vantage points, subsequently, they run the risk of cliché. When done well, however, each reveals the unexpected, as in Szarkowski's photograph above (he captures both in one image). The optimist in me delights at the disorienting perspective of looking down whereby familiar objects become abstract and dizzyingly beautiful, to looking out, with that forward motion promising adventure or escape.
The title Down & Out might conjure images of ne'er-do-wells (risky, if the public decides not to inquire further). What I hope the photographs provide, however, is pleasure in the variety of ways 'down' and 'out' can be imaged, and what emotional liberation such points-of-view can have on our often confined and overly responsible psyches.
About wall space gallery -
wall space is a gallery focused on photography, featuring new and emerging artists.
The gallery opened in 2004 in the Pioneer Square neighborhood of Seattle, showcasing local and national talents. wall space promotes artists with unique and creative visions in photography, using both traditional and alternative techniques. Showcasing artists who transcend the medium, looking to expand the photographic arts, the gallery highlights creativity in storytelling.
About 23 Sandy -
23 Sandy Gallery is a fine art gallery located just east of downtown, in Portland’s central east side arts district. We present local and national artists working in contemporary book arts, painting, photography and printmaking. The gallery also serves as a community gathering space with lectures, workshops, salons, readings and more.
For more information please contact the gallery.
This sounds fun. JM Colberg says:
"At Hyeres, ten photographers - picked from the pool of applicants - get the chance to meet ten jury members over the course of several days. You can think of this as portfolio reviews, except that each portfolio review can take as much time as it needs to - and all that overlooking the Mediterranean Sea. The jury picks a winner, who gets commissioned to do work for the next year's festival, but it's not really about the winning; or rather, the winning is being one of the ten photographers.
Just to give you an idea of what the festival will do if you're one of the ten: They will print your exhibition prints, at the best facilities they have in Paris - at their expense."
By greg on October 29, 2009
Jim Salzano, www.salzanophoto.com, sold his studio in New York a few weeks ago. He hasn’t quit the business, but he has sold the real estate that he bought many years ago. It appears that he is still being represented by Marianne Campbell Associates. I don’t know how many photo jobs Salzano is doing these days, but classic portrait photography seems to be a tough way to make a living at present.
(See the full story on www.gregceoblog.com)
Photographer Roy DeCarava, who died Oct. 27 at age 89, dedicated his 60-year career to capturing images of African Americans. His subjects ranged from daily life in his hometown of Harlem to the Civil Rights movement, but his most noted work featured photographs of jazz greats like Duke Ellington, Thelonious Monk, Billie Holiday and Louis Armstrong.
DeCarava studied painting and printmaking at the Cooper Union School of Art and the George Washington Carver Art School before taking up photography in the late 1940s. He returned to those schools to teach in the 1970s.
Tthe first black photographer to win a Guggenheim Fellowship, DeCarava was also awarded the National Medal of Arts. He founded A Photographer's Gallery in an attempt to gain public recognition for photography as a form of art.
In 1996, his work was the subject of a major traveling retrospective organized by the Museum of Modern Art in New York City.
Source | NPR
Wednesday, October 28, 2009
Tuesday, Nov 3rd
Artist’s Talk / Presentation 1:00‐2:15 LSH‐174
Sant Khalsa is Chair of the Art Department and a Professor of Art (Photography and New
Genres) at California State University, San Bernardino. Khalsa (b. Sheila Roth, January 3, 1953, New York, NY) is an artist, educator and activist living in the Santa Ana Watershed. Her artworks develop from her inquiry into the nature of place and the complex environmental
and societal issues present and visible in the landscape of the American West.
10:30 - 11:30 LSH-271 (conference room) - looking at student work
11:30 Lunch with students
1:00-2:15 Presentation of her work in LSH-174 lecture hall
For information, contact Anthony Thompson: email@example.com
Monday, September 28, 2009
SNAP TO GRID
the UN-Juried Exhibit
Every Entry Submitted is Shown!
November 12-December 5, 2009
Opening Reception: Thursday November 12, 7-9pm
(in conjunction with Downtown Artwalk)
previous snap to grid opening
Show your work at our gallery in our Un-Juried Competition: Snap to Grid. In our sixth annual exhibition of this kind participants each upload one image to be printed on high quality paper and hung in a grid in our gallery. The show will be widely promoted and will include a reception for the artists.
The show is mounted in our 1,200 foot storefront gallery in the bourgeoning downtown arts district in the revitalized historic core of Los Angeles. It is an area constantly building and creating itself, filled with art, hipsters, restaraunts, clubs, music, shopping and urban loft living. The area is frequented by celebrities, critics, curators and renowned artists. The opening reception is on the nignt of the exciting Downtown Art Walk which has drawn over 10,000 people (and also provides a new shuttle service between each cluster of the over 40 galleries in the immediate area). Thousands are expected to attend the exhibit.
After the exhibition the images and artist information will be archived by LACDA. Artwork for future exhibits will be selected from the archived images, and will also be available for review by interested area gallerists, curators and arts journalists. The ultimate resume builder. Everybody wins!
Entry fee $30US.
Proceeds benefit gallery programs.
Deadline for entries: October 19, 2009
Show is international, open to all geographical locations.
Entrants submit one JPEG file of original work up to 2mb. All styles of artwork and photography where digital processes of any kind were integral to the creation of the images are acceptable. Digital video stills and screen shots of web/new media are acceptable. Documentation shots of digital installation and digital sculpture are acceptable.
Multiple entries are permitted. $30 registration fee for each additional image.
Exhibit is limited to space available, early entry is advised.
Show Dates: November 12-December 5, 2009
Deadline for entries: October 19, 2009
Opening Reception: Thursday November 12, 7-9pm
Entry Fee: Registration fee is $30US.
Multiple Entries: Multiple entries are permitted. $30 registration fee for each additional image.
Every year for 50 years the L.A. Municipal Gallery has held its "Open Call" exhibit where any artist can show up with their art and an entry fee (to benefit gallery programs) and the piece is shown. The Los Angeles Center For Digital Art decided to launch an international experiment of the same nature where the artists upload images that are printed and hung by the gallery. The hundreds of works are displayed in a grid like installation (reminiscent of postcard art shows of the 1980's) where every work submitted is exhibited.
The usual (less than democratic) selection process where only the precious few are chosen is turned on its head in a curatorial anarchy where everyone gets to participate and the viewer is literally left to be the judge. The show represents a snapshot of a current moment in art history when digital imaging has reached the hands of the many, an age where culture belongs to the "mobblogers" around the globe. From Thailand to Texas, amateur to academic, beautiful to banal and beyond the monumental quantity and variety of "Snap to Grid" becomes an aesthetic experience where each individual piece adds to an agglomerative effect that has a life of its own.
Tuesday, September 22, 2009
Each year, the North American Nature Photographers Association (NANPA) provides up to twelve scholarships to qualified college students to attend the Nature Photography Summit. This is a tremendous opportunity for students interested in pursuing a photography career to learn more about nature and conservation photography, and to meet and network with many of the top editors and stock agencies in the business. The scholarship is fully funded by NANPA, whose mission is to “promote the art and science of nature photography as a medium of communication, nature appreciation, and environmental protection. NANPA provides information, education, inspiration and opportunity for all persons interested in nature photography and fosters excellence and ethical conduct in all aspects of our endeavors.”
Please take a look at the attached flyer for the scholarship program.
If you have questions please take them to your photography instructor.
Sunday, September 20, 2009
October 24, 2009
Open Call for Entries for All Photographers
Juror: David E. Little, Curator and Head of Photography and New Media at Minneapolis Institute Arts (MIA)
Entry Fee: $30 up to 5 images; $10 each additional (no limit on number that may be submitted)
Prizes: $300 for 1st; $200 for 2nd; $100 for 3rd
Entries Due: October 24, 2009
Notice of Acceptance: November 10, 2009
Exhibition Dates: January 2, 2010 - January 31, 2010 at the Mpls Photo Center
Reception: January 8, 2010, 6:00 - 9:00 pm at the Mpls Photo Center
About the Juror
David E. Little, Curator and Head of Photography and New Media at the Minneapolis Institute of Arts (MIA), is known for his blend of programmatic innovation, original scholarship in post-1945 art, and experience working with some of the leading artists and photographers today. With his solid foundation in art history and cultural theory, he is an experienced lecturer, writer and curator - frequently participating in portfolio reviews, conferences, and photography events worldwide.
Entries are submitted via email along with registration form to entries@MplsPhotoCenter.com. Please follow these requirements when preparing your images for submission.
• Save images as RGB using standard Adobe RBG or sRGB profile. Do not use CMYK.
• The largest image dimension (width or height) should be 1280 pixels with the other dimension proportional.
• Images should have a resolution of 72 dpi, any layers flattened, 8-bit JPEG files.
• Use JPEG compression quality of 10.
• File Names should be in the following format: Last Name_First Name_01.jpg.
• Include in one folder, Last Name_First Name with registration form.
Wednesday, September 16, 2009
Thursday Sept 24th:
11:00-12:00 - Portfolio sharing and informal discussion, LSH Conference Room
12:00 - Lunch with Students [sign up on Stafford Smith's Office LSH 275]
2:30 - 3:45 - Presentation of Kevin's work and his life after GVSU. Topics include: Grad School selection and experience, how to run a photography business, how to handle logistics of complicated shoots, how to promote you work, etc. LSH 174
4:00 - 5:15 - REPEAT of 2:30 presentation. LSH 174
Volunteers are being selected to help Kevin Schmitz install his ArtPrize work on Sept. 20th
If you have any questions about Kevin's visit and the opportunities available please contact Stafford Smith at firstname.lastname@example.org
Thursday, September 10, 2009
INVITATION TO PARTICIPATE
JerUSAlem-USA is a participatory art project that links the twenty Jerusalems in the United States with the original Jerusalem in Israel. There are Jerusalems in Alabama, Arkansas, Georgia, Maryland, Michigan, New York, North Carolina, Ohio, Rhode Island, Tennessee, Utah, and Vermont.
You are invited to visit and join with residents of the American Jerusalems in sending photographs of everyday life there (family and friends, interior and outside of homes, shops, community events and celebrations, signs with the name "Jerusalem," local scenery, etc.). These photographs will be matched by images of everyday life in Jerusalem, Israel, and posted on the 'JerUSAlem-USA' blog http://jerusalem-usa.blogspot.com.
Send photos as jpg images to Professor Mel Alexenberg, Head of the School of the Arts at Emuna College in Jerusalem, Israel, at email@example.com. In addition to being posted on the art project blog, the matched sets of images will be exhibited in museums and art galleries in United States and Israel, and incorporated in a book ‘JerUSAlem-USA.’
Full credit will be given to the creator of each photograph who will receive an official Certificate of Participation from the City of Jerusalem, Israel.
The name of the American Jerusalems was inspired by the Bible where we read about King David establishing Jerusalem as the capital of the unified state of the Israelite nation 3,013 years ago. Today, Jerusalem is the vibrant capital of the modern State of Israel. The juxtaposition of photographs of the original Jerusalem with Jerusalems in USA creates an interactive network of people with shared values that deepens the friendship between them.
Tuesday, September 1, 2009
Portfolio Showcase, Volume 4
Book and Online Exhibition
Deadline: October 27, 2009
Fifteen photographers will be chosen to display their
twelve-image portfolio in The Center for Fine Art Photography’s Portfolio ShowCase Volume 4: Book and Online Exhibition. The show will be featured on the Center’s web site at www.c4fap.org from January 5 – May 1, 2010 and will remain online for the next two years.
Theme: Open - There is no theme for this exhibition.
The images will be evaluated as a cohesive body of work, rather than individual images.
The Center for Fine Art Photography invites photographers working in all mediums, styles and schools of thought to participate in this exhibition. Traditional, contemporary, avant-garde, creative and experimental works that include old and new processes, mixed techniques, and challenging personal, emotional or political statements are welcome. The exhibition is open world wide to all professional and amateur photographers working with digital or traditional photography or combinations of both.
Juror: Katherine Ware is Curator of Photography at the New Mexico Museum of Art in Santa Fe. She previously served as Curator of Photographs at the Philadelphia Museum of Art, where she served as curator and author of Elemental Landscapes: Photographs by Harry Callahan. Ms. Ware served as Assistant Curator in the Department of Photographs at the J. Paul Getty Museum during the 1990s and organized the traveling exhibitions including, A Practical Dreamer: The Photographs of Man Ray. She has also worked with the photography collection at the Oakland Museum of California and began her career at the Smithsonian Institution Traveling Exhibition Service in Washington, D.C. She is a frequent juror and reviewer of contemporary photography and has written essays on the art of the twentieth and twenty-first centuries.
This exhibition provides opportunities for artists to be published, and present their work to an international audience of collectors, curators, art consultants and others who appreciate photography.
* Juror’s Selection – Book Cover Award: The Juror will select one portfolio to be the first presented in the publication Portfolio ShowCase Volume 4, with one of the artist’s images selected for the cover.
* Exhibition Award: One photographer will be chosen to display their portfolio in the Center’s physical gallery. (Please note that the images for this award will be exhibited within 16x20 mats and put behind glass while on display)
* All fifteen selected portfolios will be featured in the Portfolio ShowCase Volume 4 which will include the artists’ portraits, statements and contact information. Each artist will receive one complimentary book, with the option to purchase additional books. The book will include an introduction by the Juror.
* All fifteen selected artists will be featured on the Center's web site in January 2010, as well as for an additional two years in the Center’s Previous Exhibitions section.
* All fifteen photographers will receive a 1-year subscription to Artists’ ShowCase Online, the Center’s online image marketing website (preview at www.artists-showcase.org).
* The entry fee for this call for entry is $65.00 for Members and $85.00 for Non-Members for the first body of work (12 images). Each additional portfolio, regardless of membership, is $85.00
* There is no limit on the number of portfolios that may be submitted.
Please retain for your information until after announcement of the jury selection.
Download instructions for submitting your work online.
<< Click here to submit online >>
Art in Nature
Deadline September 15, 2009
Art in Nature can be seen from the subatomic to the cosmic. It can be raw, powerful, serene, destructive, fertile and delicate. This exhibition will illustrate all aspects of nature.
The exhibition is open to photographers world wide, both amateur and professional. The Center for Fine Art Photography invites photographers working in all mediums, styles and schools of thought to participate in its exhibitions. Experimental and mixed techniques are welcome.
Juror: Kathy Moran is National Geographic magazine’s first senior editor for natural history projects. A twenty-seven year veteran of the Society, Moran has produced projects about terrestrial and underwater ecosystems for the magazine since 1990. At last count she had edited over 135 articles for the magazine. Recent highlights include editing a special edition of National Geographic magazine “100 Best Wildlife Photographs”. She was also project manager for the NGS/Wildlife Conservation Society’s award winning collaboration of photographer Nick Nichols and Dr. Michael Fay’s trek across Central Africa. The resulting articles were the impetus for the creation of Gabon’s National Park system. She was named “Picture Editor of the Year” for her winning portfolio in the 2006 Pictures of the Year competition. Moran believes that every story and every photographer need to be edited individually. There is no formula that can be applied.
Exhibition and Awards:
With selection for this exhibition, artists and their work will be seen by an international audience of collectors, curators, art consultants and others who appreciate the fine art of photography.
* Juror’s Selection award: $300
* Director's Selection award: $200
* Gallery Visitor’s Choice Award: $100
* Two Artists’ ShowCase Online subscriptions for one year: (preview at www.artists-showcase.org)
* All exhibitors are included in the Center's online gallery
* Entries due: September 15, 2009
* Notice of acceptance: September 25, 2009
* Exhibition dates: December 4, 2009 - January 9, 2010
* Reception: December 4, 2009, 6:00 - 9:00 PM
* The entry fee for non-members is $35 USD for the first three images.
* The entry fee for members of The Center for Fine Art Photography is $20.00 USD for 3 images.
* Additional images may be submitted for $10 each.
There is no limit to the number of images that may be submitted.
Download the full prospectus and instructions for submitting your work online
in Adobe PDF Format (64 KB), click here.
Click here to submit online
Monday, August 24, 2009
Registration for the October 29-31, 2009 conference is now open!
Please download the registration form and either fax or mail it to the address/number listed at the bottom.
Please note that if you would like to receive a portfolio review, that assignments will be done on a first registered, first served basis. The earlier you register, the higher the probability you will not only get a review or reviews, but one with exactly who you want.
Save money by registering early! Late and on-site registrations are charged at a higher rate.
Don’t forget, we will be looking for a few student volunteers. These too will be assigned on a first come-first served basis. If you want to be a student volunteer, you must be able to attend one of two orientation meetings on Thursday, October 29th at 12pm or 5pm. In addition to this meeting, volunteers will be expected to work 5 hours over the course of the conference. Some of the student volunteers who are able to attend the earlier orientation can knock down many of their hours on Thursday doing prep work. Don’t forget to enclose a xerox of your current student ID. If ID doesn’t show the date, also send a copy of your current course schedule.Please email Colleen Mullins (firstname.lastname@example.org) for any further information.
Keynote Speaker: Ian Frazier
Thursday, October 29 - 8pm
Ian Frazier was born in Cleveland, Ohio, in 1951. He received his B.A. from Harvard in 1973 and became a staff writer at The New Yorker just one year later. When Ian Frazier’s debut book, Dating Your Mom, was published by Farrar, Straus and Giroux in 1986, Walter Clemons wrote in Newsweek, “He may be the best master of gentle laid-back befuddlement since Benchley, who had a great gift of being funny without being caught working at it.”
His third book, Great Plains, (FSG, 1989; a New York Times bestseller), was praised for its “humor and artistry” by Ron Hansen (The Washington Post Book World) and its “clear, vigorous prose that can stun you with simple found beauty” (Henry Kisor, Chicago Sun-Times). Charles Trueheart of The Washington Post proclaimed Frazier “one of the best of his generation of the New Yorker writers.” Other books include Nobody Better, Better Than Nobody, Family, Coyote v. Acme, a collection of Frazier’s humorous essays (which received the inaugural Thurber Prize for American Humor in 1997), On the Rez, an examination of the Pine Ridge Indian Reservation, The Fish’s Eye, Gone to New York, a collection of essays that The Boston Globe called “classics of (the) genre”, and Lamentations of the Father.
Frazier, a frequent contributor to The New Yorker, makes his home in Montclair, New Jersey, with his wife and two children.
Featured Speaker: Alec Soth
Friday, October 30, 7:00pm (with reception preceding)
Alec Soth (b. 1969) is a photographer born and based in Minneapolis, Minnesota. He is the recipient of several major fellowships from the Bush, McKnight and Jerome Foundations and was awarded the 2003 Santa Fe Prize for Photography. His work is represented in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts Houston and the Walker Art Center in Minneapolis. Soth's photographs have been featured in numerous solo and group exhibitions, including the 2004 Whitney and São Paulo Biennials. His first monograph, Sleeping by the Mississippi, was published by Steidl in 2004 to critical acclaim. Since then Soth has published NIAGARA (2006), Fashion Magazine (2007), Dog Days, Bogotá (2007) and The Last Days of W (2008). Soth is represented by Gagosian Gallery in New York, Weinstein Gallery in Minneapolis, and is a member of Magnum Photos.
Honored Educator: Gary Hallman
Saturday, October 31, 4:00pm
Gary Hallman is an educator and an artist whose creative work is based in photography. He received his MFA in 1971 from the University of Minnesota. His work has been exhibited in national and international solo and group exhibitions since the late 60’s, and is represented in numerous major national collections. Additionally, he has been the recipient of two National Endowment for the Arts Fellowships, two McKnight Foundation Photography Fellowships, The Bush Foundation Fellowship for Artists, a Minnesota State Arts Board Fellowship, and numerous others. Hallman has been a professor in the Department of Art, University of Minnesota for 38 years, and has taught as visiting artist at Colorado College, the University of New Mexico, the Rhode Island School of Design, and Southampton College, New York. His vision and mentorship have touched thousands of budding photographers in his long tenure at the University of Minnesota. In recent years, as a promoter of graduate students and both full-time and adjunct faculty, he’s curated exhibitions in China and Russia. As an early adopter of digital technology, Hallman was instrumental in bringing his students on visits into the digital arena, well before they knew they’d end up living there.
Introduction to the Student Competition Rules
The Alexia Foundation offers helps to provide the financial ability for students to improve their knowledge and skills of photojournalism and to increase their own knowledge and understanding of other cultures by providing scholarships to study photojournalism at Syracuse University in London, England.
The Foundation also provides cash grants to enable student photographers to have the financial ability to produce a picture story that furthers the Foundation's goals of promoting world peace and cultural understanding.For more information see link below: http://www.alexiafoundation.org/rules/student/
ALEC SOTH has created a photographic career out of finding chemistry with strangers. On his frequent road trips through America, he’s drawn to loners and dreamers he spots from his car; sometimes he will do several pass-bys before striking up a conversation. Often that will lead to a portrait session with his large-format 8-by-10 view camera.
For Annie Leibovitz, a Fuzzy Financial Picture
Date of Review: Sunday, September 20th
Project 5 is proud to announce our first group Portfolio Review in New York City. Project 5 is a unique collaboration between Amador Gallery, ClampArt, Daniel Cooney Fine Art, Foley Gallery and Sasha Wolf Gallery that has grown out of years of friendship and shared ambitions in the photography market.
Project 5 hopes to foster a supportive environment for artists to receive constructive criticism and build an ongoing dialogue about their work with art world professionals.
After the formal reviews conclude we will have a short one hour meet and greet so that all the artists and reviewers will have an opportunity to meet each other and share contacts, ideas, etc.
To apply for Project 5’s Portfolio Review please send:
-A written description of your work
- A biography that outlines your education and professional experience.
- A link to your website, if you have one.
- 10 jpegs sent either in a zip file or attached to an email (or series of emails). The jpgs should be 100 dpi and 6 inches at the largest dimension.
Project 5’s Portfolio Review will consist of three 20-minute reviews with three of Project 5’s gallerists. Great consideration will be given to the matching of gallery owners and artists based on the strengths and experience of each. The reviews will take place at Foley Gallery located at 547 West 27th Street.
Deadline for receipt of materials for this review will be September 6th and the artists will be notified of acceptance by September 9th. A $250 check made out to Daniel Cooney Fine Art will be due by September 12th.
Please direct any questions to email@example.com or to any of the galleries involved.