Archive for May, 2009

Women in Photography

May 30, 2009

I would like to introduce you to a new web site that I stumble upon, Women in Photography. Although established in 2008 it appears to be well established and worth visiting. Here is an excerpt from their last group show.

Women in Photography launched in June of 2008 as an outlet for women photographers to exhibit work outside of the traditional commercial art world. Showcasing emerging photographers in addition to mid-career and established artists, it is designed as a resource for photographers, editors, curators, gallery owners, and the general public to discover and enjoy the work of women artists. As an internet-based project, the site reaches a global audience. Exhibitions are co-curated by Amy Elkins and Cara Philips.

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A GROUP SHOWCASE

“If there were a little more silence, if we all kept quiet… maybe we could understand something”
-Federico Fellini

The photographer often retreats inward from the external world – to digest, to dissect and to make it their own. The noise of the world must be taken in and internalized before they can turn their gaze out again. In that stillness all the small parts of a riddle begin to be solved. Without that the artist would most certainly be lost.

If There Were a Little More Silence, wipnyc’s first group showcase, explores the artists innate desire to break away and embark on one’s own investigation of environment, family, society and self. Featured artists include Michele Abeles, Rebecca Horne, Melissa Kaseman , Catherine Larré, Stacy Renee Morrison, Sonja Thomsen, Anna Venezia, Jessica Watson and Sarah Wilmer.

Picture 19Jessica Watson was born in 1973 in Massachusetts. She received her BA in studio art from Wellesley College and her MFA in photography from Bard College. Her work has been exhibited in New York galleries, including Art in General, Larissa Goldston Gallery, Massimo Audiello Gallery and Sean Kelly Gallery. She was a resident at the Lower Manhattan Cultural Council’s Workspace Program in 2005. She lives and works in Brooklyn, NY. www.jessicamanningwatson.com

Picture 20Rebecca Horne received a BFA from the San Francisco Art Institute in 1992 in California, and her MFA from Mason Gross School of the Arts at Rutgers University in 1997. After graduating she alternated between teaching photography at Rutgers University and working at photo agencies Redux and Sipa Press and photo editing at Newsweek and other magazines. She is currently the Photo Editor for Discover magazine.

Rebecca Horne has exhibited her photography in Europe and the US and is represented in NYC by Roebling Hall gallery. www.galleryartist.com/rebeccahorne

Picture 23Born and raised in Missouri, Sarah Wilmer lives and works in New York, with her cat, Tubs. www.sarahwilmer.com

Picture 25Michele Abeles has lived and worked in Brooklyn, NY since 1999. She makes work in the city, in her apartment, in other people’s homes, on the road, in the desert, on the beach, in the forest, and will drive many miles to find what she doesn’t know she’s looking for.

Since 2004 she has exhibited in NYC, Los Angeles, Seattle, Indianapolis and abroad. In 2005 she was selected to show work in Art & Commerce’s Festival of Emerging Photographers. She is a recent graduate from the MFA program at Yale University where she was awarded the 2007 Richard Benson Excellence in Photography prize. She teaches at Parsons the New School for Design and currently is preparing to participate in the 2008 High Desert Test Sites. www.micheleabelesphotography.com

Picture 22Catherine Larré was born in Nancy. She studied at ENSAAMA in Paris and then
at the Royal College of Art in London. Her work has been exhibited throughout Europe, most recently at the Centre Photographique, d¹Ile-de-France. She lives and works in Paris. www.catherinelarre.com

Q&A Series: Loyality vs. New Talent?

May 22, 2009

Q & A SERIES:

With budgets tightening, is now the time to stick to your regular photographers, or are you reaching out to new talent?

Are photo editors and art buyers still keeping tabs on new photographers? With jobs being cut and much of the media industry in panic, do they even have the time to peek at the hundreds of promotions in their mail? Obviously each photo editor or art buyer has a list of photographers which they work with regularly or would like to soon. So how do you get on that list? I’m curious about the flexibility of rosters and whether our current economic condition is affecting their fluidity. Do photo editors hold tight to those people they know to be reliable? Or perhaps now is the time to take a risk and branch out? Does the lowest bidder always get the job?

If you’re competing again their regular contributors, how do you get the job? Keep submitting and keep pushing your own work to evolve. My advice is to always be the photographer who thinks through the job more than the next guy (or gal). Always be the one who is more prepared, creative, and ready to try something new. That being said, don’t be afraid to give a client a great deal if the particular job will mean pushing you onward creatively and professionally… because you’ll be the one working while others are still sending out postcards.

As I do each month, I’ve put this question out to some of my favorite art buyers and photo editors in the industry. With budgets tightening, is now the time to stick to your regular roster of photographers, or reach out to new talent?

As always, thank you to everyone who contributed to this month’s Q&A! The feedback has been wonderful and incredibly encouraging. Let’s keep it up!

- Jacqueline Bovaird, Assignment Rep, Glasshouse Assignment


McKinneyKELLIE BINGMAN, ART BUYING SUPERVISOR, MCKINNEY

Regardless of the economy, we always reach out to the best photographer for the job. Over the years I’ve found that there isn’t a shooter out there who won’t do everything in their power to work within the budgets I have. It’s great to establish and work within a partnership like that and it almost always results in a win-win for all involved.

AndresCortez_Vox

ANDRÉS CORTÉS, ART BUYER, THE VOX COLLECTIVE
Stick to whoever is flexible in terms of budgets…. Also reaching to photographers overseas. Personally I prefer to work with people I’ve worked with in the past.

CarolineHirsch_NG

CAROLINE HIRSCH, PHOTO EDITOR, NATIONAL GEOGRAPHIC ADVENTURE MAGAZINE

Happily, we are working with our regular outdoor-adventure-friendly photographers (who already are comfortable sleeping by the side of a river or on a mountain, not at the Ritz), and also searching for new talent that are up for the challenge and are based just right where we need them! ………………………………….. ……………………………. ………….. …………………………….. …………………….. ………………. ……………………… Wall Street Journal, Weekend

ERICA BECKMAN, PHOTO EDITOR AND PHOTOGRAPHER, WALL STREET JOURNAL, WEEKEND JOURNAL

There are so many interesting young photographers out there that I’m always trying new talent. In terms of photographers who I use on a regular basis, it seems that most people are pretty flexible and are adapting the economy; they may not be happy about being paid less, but they are definitely happy to be working. If I think a story is right for a certain photographer I’ll give them a call first to see if they want to shoot, but if the budget we offer doesn’t work for them, well, then I move along… The fact that the restricted economic climate might be giving more opportunities for young blood is really encouraging for our industry; although there have been cut backs it’s allowing new talent to grow.

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KRISTI DRAGO-PRICE, PHOTO EDITOR, BRIDES MAGAZINE

I think it is a mix of both. On one hand using photographers you have a steady relationship with is helpful because they understand the magazine and what you need. There is less of a chance for a reshoot and you can rein them in on expenses. On the other hand, new talent is always exciting to find and they maybe more willing to come in under budget to create a steady relationship.

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SEE ASSIGNMENT EMAIL BLAST HERE.

Keep a look out for next month’s question and email blast!!

If you have any ideas, comments, or if you’d like to participate in our monthly email Q&A, please don’t hesitate to contact me, Jacqueline Bovaird. I am always looking for new voices to add to this evolving discussion.

212 . 462 . 4538 | jacqueline@glasshouseassignment.com

Kafka in Money Magazine

May 20, 2009

Evan Kafka. Always reliable. Always awesome. Always reliably awesome.

Check out Evan Kafka’s portraits of Robert Frank in the new issue of Money Magazine.

Evan Kafka in Money Magazine

Evan Kafka in Money Magazine

Evan Kafka in Money Magazine

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Great job Evan!

Contact assignment rep Jacqueline Bovaird with questions or portfolio requests.

212 – 462 – 4538  |  jacqueline@glasshouseassignment.com

www.glasshouseassignment.com

Lens: New York Times Blog

May 19, 2009

I’m not sure what to make of the new New York Times blog Lens. It’s definitely a move in the right direction, that is, a more visually exciting, intuitive, and user friendly direction.

Lens

Let me make sure to say one thing: Bravo to the New York Times for trying new things. However, they’re also the leader in many respects and, therefore, are apt to receive more criticism.

Lens

Emilio Morenatti/Associated Press

Things I am enjoying about Lens definitely include the new and sexy page-turning interface. A blog being horizontal? While this shouldn’t be new and different and somewhat exciting, it is. I am also enjoying the slide show and full screen options, which only make ignoring your other tasks at hand easier. Above all, kudos to the Times for letting the photos shine on. While they qualify Lens as a blog for “Photography, Video and Visual Journalism,” the photos here dramatically outweigh the text, something I didn’t expect. That being said, I find myself wishing that it was easier to read the extended text with each post. In a perfect world (of my own making) the extended story text would seamlessly appear below the image, pushing the rest of the frames down with some sort of show/hide functionality. So I suppose I’m applauding their ratio of images to text, but wish the text was more readily available when I want it to be. Can’t we have it all?

Lens

David Burnett/Contact Press Images

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Lens: Photography, Video and Visual Journalism

I’d love to hear what you think!

Leave me a message here or email info@glasshouseassignment.com

A look at the World

May 17, 2009

The New york Times ran a wonderful piece on must see places. Beautifully photographed by Raymond Meier.

I think my favorite place might be Louis Kahn’s Capital Complex, Dhaka, Bangladesh.

Check out a few of my top choices.

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Culture vultures always have at least one must-see-before-I-die destination on their list: Michelangelo’s Sistine Chapel; Chandigarh, the Le Corbusier planned city in India; Robert Smithson’s ‘‘Spiral Jetty’’ in Utah. These are places that can change the way we see and the way we think, places worth getting on a plane for, particularly now, when travelers are seeking out edifying experiences more than ever. With this in mind, T asked an eclectic group of experts to share their personal meccas. Some choices were iconic, like Walter De Maria’s earthwork ‘‘Lightning Field,’’ in Quemado, N.M., while others, like the ceiba tree in the Little Havana section of Miami on which the artist Ana Mendieta carved her silhouette, are hardly on the Grand Tour. ‘‘Seeing art is always about a personal pilgrimage,’’ says Amy Cappellazzo of Christie’s, who chose Mendieta’s piece. (Brancusi’s ‘‘Endless Column’’ in Targu-Jiu, Romania, was a runner-up.) ‘‘It is a commitment to open-mindedness and belief in the state of wonder.

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’’LOUIS KAHN’S CAPITAL COMPLEX
DHAKA, BANGLADESH

‘‘Kahn’s skill at ennobling experience through simple materials grandly used can be sensed at his library in New Hampshire and the ruins of his Trenton Bath House. But it is in the marshy capital of Bangladesh that one of America’s greatest architectural talents can be experienced in all its force.’’
— Barry Bergdoll, chief curator of architecture and design, MoMA

Picture 10STIFTUNG INSEL HOMBROICH
NEAR DÜSSELDORF, GERMANY inselhombroich.de

‘‘It’s a sort of utopian project meets private collection. The extensive grounds are practically left to the wild in a sort of eco-conscious way. In contrast to that, pavilions, like little follies, have been commissioned by artists and architects alike. They house an amazing mixture of works, from ultra-contemporary to modern to traditional. The whole thing is strangely lowbrow, no-nonsense, like a very contemporary, quiet renaissance.’’ — Sarina Basta, curator and writer

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KANAZAWA

This town, on the west coast of Japan’s main island, has recently emerged as a place of pilgrimage for both ancient and modern Japanese art and craft. 21st Century Museum of Contemporary Art It’s known for its eclectic rotating exhibits, and the striking building is a destination in itself (kanazawa21.jp). Yasue Gold Leaf Museum Kanazawa produces most of Japan’s gold leaf. See excellent examples at this small, thoughtfully curated collection (011-81-76-233-1502). Kenrokuen Garden The site is named for the six attributes (kenroku) considered vital for a perfect garden: space, seclusion, artifice, antiquity, water and scenic views. Myoryuji One of Japan’s most intriguing temples, it abounds with secret passages, hidden rooms and traps designed to protect feudal lords. (011-81-76-241-0888.) AKIKO ROBINSON

GLASS MENAGERIE PATRICK BLANC’S ‘‘GREEN BRIDGE’’ IN THE COURTYARD OF THE 21ST CENTURY MUSEUM OF CONTEMPORARY ART IN KANAZAWA, JAPAN.

Picture 13JAMES TURRELL SITES

Four places to experience the artist’s meditations on light and space. Louise Blouin Foundation, London After dark, the 78 windows here emit a transcendental light show (ltbfoundation.org). Pomona College, Claremont, Calif. His alma mater houses an example of his ‘‘skyspace’’ works (pomona.edu/museum). Villa Panza, Varese, Italy Turrell’s piece communes with installations by Dan Flavin and Robert Irwin (fondoambiente.it). James Turrell Museum, Estancia y Bodega Colomé, Argentina The first museum dedicated specifically to the artist (left) is at the Hess Family Winery (estanciacolome.com).

Dell keeps it sweet and fluffy

May 13, 2009

Something interesting is happening over the new Dell branding. They have targeted it towards women, which is perfectly acceptable. What is causing an uproar is the way they’ve gone about it. I just read a clever and funny review of the situation on The Dog and Pony Show here. Since I think that they did a great job writing about the situation, I won’t try and replicate it. My favorite quotes are below but I’d of course recommends reading it in full and also checking out Dell’s site here and coming to your own conclusions.

Dell

“First they call it Della. Aww… how cute and clever and retch-inducing. Then they only play up laptops with pretty graphics or stylish sleeves – because you know, there’s no way any woman would ever really care about the specs. Their first bullet point about most of the notebooks is how it’ll nicely fit in your bag. Jesus, why don’t they talk about how the keyboard won’t break your nails and how you can surf the net while ironing your husbands shirts or getting dinner on the table before he comes home.”

“They even have a tip that says “Use your netbook to plan your ovulation cycle and crank out more kids to fulfill your sole purpose as a woman.” Ok, I made that up, but I wouldn’t have been surprised to see it on such a ridiculous, stereotypical, insulting piece of marketing.”

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What do you think?

Update: Stephen Mallon on Wired

May 13, 2009

Stephen Mallon

My last post was singing the praises of a photographer named Stephen Mallon (see below). Well looks like I’m one of many fans! Check him out in WIRED here.

Stephen Mallon, Salvage of Flight 1549

May 6, 2009

I had the wonderful fortune of meeting Stephen Mallon as party recently. Not only are his images stunning but his enthusiasm for his work was so refreshing and infectious. As a rep, the excitement of photographers who are clearly invested and passionate about their work is simply contagious and, when the images are good, makes me want to shout their praises from assorted city rooftops. Since shouting from rooftops is frowned upon and relatively ineffective, this blog seems to be the modern edition of this expression. Stephen was nice enough to send me a few jpgs and contribute some insight which you’ll see below. These photographers are from the recovery of flight 1549 which landed in the icy Hudson river this past January. See his site here for more.

Stephen Mallon

Q: How did you get access to the site?
A: Weeks Marine is one of my existing clients. I have photographed with them on a personal project about the recycling industry (they are involved with retiring 1500 subway cars from New York City) and they then hired me to document the delivery of the concorde to the intrepid museum in New York. When flight 1549 landed in the water, we were at a happy hour a couple of hours later and someone said, “I wonder who is going to get the plane out of the water?” The little voice in my head said “I know who!”

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Weeks marine has the largest floating crane on the east coast (it can lift one million pounds, no joke), so i was pretty sure it was going to be their job. I called my client asked him if he got the job, and he told me he was finding out in the morning but was meeting with the FBI and the coast guard… could I please call Tom Weeks to confirm? I got him on the phone the next morning and he asked me if I wanted to come down to work. I said absolutely, grabbed my tripod and camera, and headed to Jersey. We left on the tugboat pulling the crane and arrived in the early afternoon.
Stephen Mallon

Q: How long was the recovery process of the plane?
A: The plane got out of the water Sunday, January 18th at 12:30 am, so about 36 hours after Weeks Marine arrived on the scene. It took about 2 weeks until they moved it to the warehouse that it’s currently stored in.

Stephen Mallon

Q: Was the salvage an emotional process for you or for the workers involved?
A: Surreal mostly. The crew were used to this for the most part, although every once in a while we did look down and say, “Wow there’s a plane underwater right there…yea I know!”

Stephen Mallon

Thanks Stephen!

Check out more of Stephen Mallon’s work here!


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