tumblr analytics

 

oranbeg:

Oranbeg Inquires: Jeremy August Haik

Where are you from/where are you currently residing? 

I’m from DC/Baltimore originally, currently living in Brooklyn.

What is the work you are currently focusing on? 

A lot of my work over the past few years has involved scanning found materials and images, but lately I’ve been incorporating a lot more studio and still life shooting into the work. I’m endlessly curious about the path an image can take as it gets copied and modified from the original image to a printed copy to a website or phone, maybe back into another photograph (and on and on). I’ve been collecting images and other printed material from various sources and finding as many ways as possible to replicate this cycle of replication and modification. I’ve been making a lot of polaroids lately as well, and those are starting to find their way into the work both as stand alone pieces and as objects within larger compositions. What the results of all of this suggest to me is a form of altered or alternative history that comes about by the collision between elements that might not have the chance to meet otherwise. Kind of a Craigslist missed connections but in the language of images instead of text.
What is your opinion on the current state of photography, particularly on the photobook? 
I think there’s no time like the present for photography because it’s such a big part of our culture in a broad and global sense. That might sound tired or obvious, and I actually feel like the critical discourse surrounding photography is a little stale at the moment. Nevertheless, it doesn’t lessen the impact images and photography have on culture at large, which is just immeasurable. I think it’s common knowledge that we’re living in a radically new kind of cultural landscape that has sprung up within the last few decades because of the availability of image-making tools, and I don’t think any of us can really step back far enough it in order to observe its effects; it’s hard to comment on something so large when you’re living inside of it. But all of this boils down to it being a really exciting and promising time for photography.
What does this mean for artists working in photography? I think the second part of your question about the state of photobooks is one answer. You could argue, on the one hand, that artists have a profound need to stand apart from the crowd, to be different in some way. Refusing to participate (wholly) in the prevailing tide of digital images is one way of doing this. If I make a digital photograph and put it online anyone can have it and the experience is always the same.  But if I rarefy that image by only printing it in limited quantities in book form I condense the experience to one person at a time, and presumably this makes it more intimate, personal and special.  On the other hand, you could argue that it has less to do with individual motives and is more broadly the result of a wholesale dissatisfaction with the coldness and aloofness that a largely digital existence engenders. Either way, though, I think making books and putting them into peoples hands is about creating a personal and intimate space for art, and it seems like a lot of artists are looking for a way to do that right now.

Favorite Photo Blog?

I think Paper Journal is pretty great for photos. Probably my favorite art blog is likeafieldmouse, but it’s not strictly photography. I also really like the NY Times lively morgue blog.  

Favorite Photobook? 

That’s really hard to say. I’m really into Sara Cwynar’s Kitch Encyclopedia, I just got my copy in the mail last week. If I had to pick one book though, it would probably be Penelope Umbrico:Photographs.

Oranbeg Inquires is a series of informal interviews with the artists that have participated in Oranbeg’s Interleaves, Books and the NET exhibitions. Jeremy has an interleaf.

**Send in a submission for Beta deadline June 23!

nycrecords:

The Department of Records Celebrates Women’s Equality Day:

In 1971, at the behest of Bella Abzug, Congress declared August 26 as “Women’s Equality Day.” The day commemorates the enactment of the 19th amendment which gave women the right to vote.  But even more, in 1971 the day honored the efforts of contemporary women activists who re-launched the fight for equality throughout society.  

In 2014, we continue to advocate gender equality. For example, women earn 77 cents for every dollar earned by men, on average.   Women are often the primary caregivers in 70% of households.  This struggle informs the work of Mayor Bill de Blasio’s administration.  The administration’s programs such as comprehensive paid sick leave and universal pre-Kindergarten are major advances that will positively impact working women and families.  We celebrate these programs and continue to advance the fight for equity.

Between Women’s Equality Day in 2014 and 2020, the 100th anniversary of women’s suffrage, DORIS will coordinate a multi-year series of events celebrating the empowerment of women in New York City. Learn more and see more photographs here.

fucking-history:

Paul von Lettow-Vorbeck was a general of the Imperial German army in World War I in the East Africa campaign. With a force that never exceeded 14,000, he used guerrilla tactics to check a British, Portuguese, and Belgian force numbering 300,000 without experiencing any defeats. After the war, he helped lead the Freikorps against the Spartacists in the January Uprising (Image: Library of Congress). 

fucking-history:

Paul von Lettow-Vorbeck was a general of the Imperial German army in World War I in the East Africa campaign. With a force that never exceeded 14,000, he used guerrilla tactics to check a British, Portuguese, and Belgian force numbering 300,000 without experiencing any defeats. After the war, he helped lead the Freikorps against the Spartacists in the January Uprising (Image: Library of Congress). 

amnhnyc:

This #MuseumMonday, we’re featuring the Ellsworth Corridor. 
This area on the Museum’s first floor just off the Grand Gallery celebrates a relatively unsung hero of polar exploration: the American Lincoln Ellsworth. His bust graces the back wall of the narrow hallway, while the display cases on either side contain artifacts detailing Ellsworth’s efforts to become the first man to fly across both polar continents, a feat he accomplished in 1935 when he crossed the Antarctic in his plane Polar Star. Ten years earlier, Ellsworth’s first attempt to fly over the North Pole teamed him with Norwegian Roald Amundsen, whose earlier overland competition with British Royal Navy Captain Robert Falcon Scott to reach the South Pole is chronicled in the Museum’s traveling exhibition Race to the End of the Earth. Through the special relationship between Amundsen and Ellsworth, the Museum Library’s Memorabilia Collection came to possess items the Norwegian explorer carried with him on his quest to reach the South Pole, including a sledge, chronometer, binoculars, shotgun, and a tin cup from the ship Fram, which are featured in the corridor.
Explore other halls on this #MuseumMonday!

Lovelovelove

amnhnyc:

This #MuseumMonday, we’re featuring the Ellsworth Corridor. 

This area on the Museum’s first floor just off the Grand Gallery celebrates a relatively unsung hero of polar exploration: the American Lincoln Ellsworth. His bust graces the back wall of the narrow hallway, while the display cases on either side contain artifacts detailing Ellsworth’s efforts to become the first man to fly across both polar continents, a feat he accomplished in 1935 when he crossed the Antarctic in his plane Polar Star. Ten years earlier, Ellsworth’s first attempt to fly over the North Pole teamed him with Norwegian Roald Amundsen, whose earlier overland competition with British Royal Navy Captain Robert Falcon Scott to reach the South Pole is chronicled in the Museum’s traveling exhibition Race to the End of the Earth. Through the special relationship between Amundsen and Ellsworth, the Museum Library’s Memorabilia Collection came to possess items the Norwegian explorer carried with him on his quest to reach the South Pole, including a sledge, chronometer, binoculars, shotgun, and a tin cup from the ship Fram, which are featured in the corridor.

Explore other halls on this #MuseumMonday!

Lovelovelove

natgeofound:

A British airman gives a signal to another friendly aircraft, 1918.Photograph by Central News Photo Service, National Geographic Creative


natgeofound
:

A British airman gives a signal to another friendly aircraft, 1918.Photograph by Central News Photo Service, National Geographic Creative

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965
One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

^^^This is so intense

Joseph Beuys, How to Explain Pictures to a Dead Hare, 1965

One of the artist’s most famous performances, Beuys covered his head first with honey, and then with fifty dollars worth of gold leaf. He cradles a dead hare in his arms, and strapped an iron plate to the bottom of his right shoe. Viewed from behind glass in the gallery, the audience could see Beuys walking from drawing to drawing, quietly whispering in the dead rabbit’s ear. As he walked around the room, the silence was pierced by intermittent sound of his footsteps; the loud crack of the iron on the floor, and the soundless whisper of the sole of shoe. (via)

^^^This is so intense

Interview #408: Katherine Akey

nopefun:

image New York City, USA.

q: Give a short introduction of yourself:
a: Although I just did completed the MFA program at ICP-Bard, I actually come from a very science-heavy academic background. I majored in Psycholinguistics, a branch of Cognitive Science, in my undergrad at NYU. My entire family is made up of scientists of one sort or another, from biologists and veterinarians to physicists and archaeologists. Growing up surrounded by these very academic, extraordinarily curious people had a major impact on my own interests.

q: Does photography change the way you look at things?
a: Having a rich art historical knowledge base certainly changes the way you look at the world around you; you have so much to draw from, references to bring into your understanding of the world around you. That is empowering. I also know that my attention changes when I go from observing the space around me to making an image. Form, color and light start to stand out and that catalog of art historical knowledge comes into the fore.

image

q: Your thesis book “Fata Morgana" is about exploration and the "pursuit of the unknown". What inspired it and can you elaborate briefly about the publication?
a: I think the ambitions of so many of these men who went north to explore were complicated and compelling; what drove them to embark, what kindled the hope that kept them alive, and what they give credit to for their success once they return are all completely different things. The North Pole itself is elusive and misleading; there’s a geographic north pole, a magnetic north pole, the celestial North Pole, and a northern pole of inaccessibility. The Arctic, unlike the Antarctic, is a frozen ocean, not a continent; there’s no land mass, just sea ice. The mythic explorer hero is also a foggy, misleading concept; these men were egotistical, driven by ambition, and many of them died miserable, needless deaths alone. All of my interests and works come out of this deep respect for the Human; I see it so clearly in these fevered moments of triumph-cum-horror, like the World Wars or the Golden Age(s) of exploration. There’s a lot to be said about the exploration of scientists, philosophers and academics, too, and along the same lines.

image

q: Expounding on the idea of “Fata Morgana” and illusions, I think photography itself is a form of illusion in that it imitates visual reality and past events but does not actually reproduce the captured moments. Would you consider photography closer to fiction or reality in this context?
a: This is a very complicated question with a dense cloud of conversation around it in our field. Photography’s earliest days were heavily rooted in the scientific, establishing an association between it and Truth. Shortly the pictorialists started using it to create rather than capture and thus began the great tension between reality and supposed-reality in photography. Even the most revered photojournalists have been known to construct or stage an image, like Capa’s Falling Soldier. Different photographers use both capture of the seen world and construction or manipulation in the image in different measures. I tend to be more hands off when it comes to altering images, but that doesn’t mean I can’t be suggestive of an altered reality. Take my photograms for instance; they’re all made of water, sand and cotton balls, but they look like interstellar swarms and murky auroras.

q: How do you feel your education in photography has influenced you?
a: I started the MFA program at ICP-Bard without any formal photography training. I was anxious about my technical abilities, and spent a lot of time trying to make my work fit into a theme or line of inquiry that I thought was worthy of capital-a Art. I realized after the first year that this was just not working; my work was stagnating, I was getting frustrated, and my classmates and teachers were really bored with my work. I realized that making work on a subject that you are obsessed by (in my case Polar exploration, early aviation, manned spaceflight etc.) automatically takes you halfway there. Sure, not everyone is going to get jazzed about the technicalities of man-hauled sledging, but you have to trust that there is something beautiful and compelling in what you are passionate about and that as an artist you have the abilities to communicate that to others. I learned not to worry if what I’m interested in most is super esoteric, or seemingly mundane, because excitement will carry you through your art making and will shine in your work.

image

q: Photographic equipment?
a: Most of my work during grad school was made with a Mamiya 7, but prior to that my go-to camera was a Minolta that my father gave me when I was eleven. I just inherited a Leica M2 as well as a Rolliflex, which are turning out to be immense fun. I’m a big fan of Foma’s paper, too. It’s cheaper than Ilford, though the emulsions scratch really easily, but you can get matte graded paper there. That’s just spectacular.

q: Upcoming projects or ideas?
a: I have been selected to participate in the Arctic Circle artist residency in October 2015. I am over-the-moon excited and have a lot of planning to do, from gathering equipment and gear to grant writing and fundraising. I’ve also been working on a body of work around World War One, given it’s the centennial of the war for the next few years. Doing background research and preliminary sketches for that has been both horizon widening and intensely depressing.

q: Any new music to recommend?
a: I may be late to the game, but I’ve been all about Stromae for the past few weeks.

image

her website.

Thanks so much to Lee over at Nopefun for the interview.

Iron Age shoes (ca. 400 BCE to 400 CE) found on a body in a European bog

Iron Age shoes (ca. 400 BCE to 400 CE) found on a body in a European bog