Archive for the ‘photography presentations’ Category

for artists who want to know about new spaces and opportunities

December 18, 2009
chashama Studio Application – Brooklyn Army Terminal
DEADLINE : January 12, 5pm – at our office / January 11 – postmark

The chashama Studio Program at the Brooklyn Army Terminal (BAT) encompasses 89 visual artist studios in two neighboring buildings in Sunset Park, Brooklyn.

We are seeking artists to join our BAT Studio community, beginning occupancy February 2010.

chashama offers low-cost, work-only studio space to eligible individual artists for a period up to one year (depending on availability of the space from the landlord), subject to renewal. Organizations are not eligible. This program does not provide living space.

Studios:
range in size from 200 to 800 square feet,
will cost no more than $1 per square foot per month.
have 8-foot high walls, with ceiling heights that range from 12 to 15 feet.
24-hour access
freight elevators during business hours

A communal environment is encouraged through proximity of the studio artists. The studios do not have individual studio doors (if an artist wishes for privacy, he/she may hang fireproof material over the studio opening.) For an image of the building and a sample studio, check out
http://www.chashama.org/_brooklyn/index.htm

Artists who are awarded a studio are expected to work in their spaces on a consistent and ongoing basis, and must be prepared to actively use their studio a minimum of 50 hours a month or they will lose it; sign-in sheets are used to record studio use. Studios may not be sublet.

Each artist provides a security deposit ($200) along with the first month’s rent upon signing the lease agreement. Studio artists are asked to participate in one (1) open house per year in which their studios are open to public visitation.

Eligibility: All applicants must be residents of the United States or have a valid visa not expiring before the end of the residency, be 18 years or older, and able to demonstrate need for a studio. Applicants may not be residents in another studio program at the same time as their chashama residency, unless agreed to by chashama.

Welding, work that requires use of fire, or work that creates an abundance of air-born particulate matter is not allowed. If your work samples are of this type of work, please describe how your future projects may differ.

Selection Process:
chashama will place artists in a studio based on the information received in the application.
A panel of arts professionals and artists will review applications and select artists based on
• Artistic merit. Quality of work.

We will then interview selected artists to determine
• Need. The need for space measured against other options available.
• Use. Potential for making the most of time in the studio.
• Personal responsibility. Personal references and ability to pay fees.

All applicants will be notified in February if they have been selected for interview. Please do not call our office for selection results.

link to pdf application: http://www.chashama.org/downloads/chashama_Studio_Application_BAT.pdf

aperture org. free event ‘the projected image’

December 3, 2009

New York, New York

The Projected Image
Panel Discussion


Thursday, December 10, 2009
7:00 pm

FREE

The New School
Tishman Auditorium

66 West 12th Street
New York, New York

Aperture Foundation at The New School presents this panel discussion as part of the tenth season of the series Confounding Expectations: Photography in Context. The Projected Image will explore the multiple ways in which contemporary artists have utilized projection and installation strategies to display still photographic images, creating immersive and cinema-like experiences in museum and gallery environments. Departing from the large-scale, tableau treatments of the photographic image printed and framed as wall-based objects, exemplified in works by Jeff Wall, Andreas Gursky, and Gregory Crewdson, in recent years contemporary artists have increasingly employed projection devices—ranging from analogue to digital high-definition—to display photographic images as immaterial light projections, often incorporating temporal and audiovisual elements that recall cinematic contexts yet retain distinctly photographic qualities.

Moderated by George Baker, associate professor of art history, UCLA; panelists include photographers Andrea Geyer, Paul Pfeiffer, and Krzysztof Wodiczko.

center 4 photography water contest

December 3, 2009

a few weeks ago i entered the center 4 fine art photography water contest. it’s one of the contest i first started entering when i got enough courage to submit work. enough people had told me my work was good and i should submit.

brown leaf trapped in ice

well i never heard back from them from any of my entries, well maybe a rejection email or two, i am not sure anymore. rejections are something i’ve grown use to, although some contest don’t even bother doing that. how many entries do they get, i’ve heard some places raise as much as $50,000.oo each contest, not a bad months worth of work.

lots of people want recognition as an emerging photographer or old salt. but it’s something that i don’t do as much as when i started out, yes i’ve won my share of contest which is pretty wonderful or at least gotten honorable mentions which i think is pretty cool also.

rain chain

now i am more interested in who’s judging the contest than i am the gallery running it. how does one make contact with people? the big question. i asked bruce silverstein one night how he finds his talent to which he replied spend all night searching the internet much to his wifes objections. how do we or anybody make contact in this age of computer overload? do we use the same device  that causes the problem.

condensation on window

modern postcard would have us believe that the old school of contacting art directors and agents is through good old mailings. maybe that’s still true.this reminds me of a story i heard a long time ago about the sun rising and native american legends.

it seems there was this anthropology fellow living in one of the native americans villages studying the native peoples. in his observations  he would see that early in the morning some men would disappear into a certain area before the sun came up. he asked questions about what was going on  which mostly were met with evasive answered. but there was one person who shared a story that they were performing a sacred ceremony of greeting the sun.

[now my memory isn’t the greatest in remembering names isn’t one of my strong points.]

but to continue the story: when the anthropology student pressed for details he was told that the group performed the ceremony in order for the sun to be raised from the underworld . ‘you’d don’t really believe that the student asked? you’re educated people who knows that the planets revolve around the sun which makes the sun comes above the horizon.’

‘yes that is true.’ was the answer.

but the student kept seeing the group meet every morning. once again he approached the person whom had answered his question about the ceremony and asked  ‘why are you still meeting and performing that ceremony ?’

to which was answered ‘ if we didn’t perform this ceremony it might prove your science  sun rising theory wrong and leave the world in darkness.’

so you never know what outcome your actions will produce which is one of the reason i still enter contest.

the american’s, robert frank

November 24, 2009

a friend was in town the other week whom i don’t usually get to spend time with but he had a day to kill so we decided to try and see la danse the weisman dance film of the paris opera’s dance company. both his daughters are ballerinas in a european company so we thought that might be fun.

we showed up to the theater to be met with a very long line half way down the block , oh well i don’t like crowded theaters nor crowds in general. so kenny suggested we go up to the metropolitan museum of art and see the robert frank exhibit ‘the americans.’

on the way up on the subway kenny told me why he had an interest in robert franks work. kenny used to work at baldwin pottery on la guardia place a long long time ago. i knew it from my chip monck days because he had a loft  in the building down the alley behind baldwin pottery. kenny worked as a potter before we met working at the filmore east. i met chip as a daily hire for his rolling stones tour of europe in 1970 to take care of the follow spots. long story…….

the owner suggested kenny to mary frank’s who was looking for someone to mix and kneed her clay as she spent many years as a sculpture artist. kenny said she had given him a schetch which now hung in his mothers house. really odd how these connections happen.

what i learned abotut the show is totally different than what kenny walked away with. see the link for pics etc. no they are not mine as pictures are forbidden in traveling shows besides i didn’t have my camera with me, we were going to the movies.

seeing the actual first prints, working prints etc in a way is pretty neat, but what struck me is how far we, photographers, have come with printing. this is also true of a show earlier this year with fred steins work. the new archival prints are so much better than the originals.

now i’ve never seen any ansel adams prints that were created under his supervision, but think they too would show their age now. everything paper, well actually everything is decaying right before our decaying eyes.

but i guess what’s interesting to most people is seeing the originals. the show was certainly crowded enough but lots of tourist wander through new york on any given day. there was a quotation from jack kerouac on the wall which caused me to smile because i knew jack when he was living in northport, ny. i don’t remember the quote but i do remember drinking and closing many a bar with jack and friends.

i remember driving into the sun with jack in the seat besides me, more on that later.

Busy weekend

October 20, 2009

last weekend was pretty busy running around to different galleries and participating in the hoboken open studios at the monroe center. we, mary & i, met some interesting people to talk with and i always like these things because i meet other artist talk about each others work and share the day. i like to see other artist work as it gets me to thinking about things i’ve never thought of before.

here is mary meeting people, i am the guy behind the curtain, oh camera

mary show our work

mary showing our work

add my pixs

add my pixs

another bus load

another bus load

mary’s jewelry which surprised us didn’t sell. heck she sells it off her body at some of our openings.

IMG_9659-

sometimes i get locked into an idea or work space and can’t easily see my way out of it. that’s one of the values of the Artist Way book by julia cameron and mark bryan, but mark has disappeared from the amazon book page and the web site. maybe some sort of riff between them. i did meet him years ago as he was doing sessions about the book and how to use the information given. i do recommend the book or should i say the system it teaches., although i can’t say i know anybody who’s ever finished the book and all it’s exercises. but the ideas are top notch and it generates an idea of ‘self care’ and appreciation, that can open many a closed door or window. of course now there is an artist way web site.

one of the things i got from mark and out of the book was journal writing . i’ve got somewhere close to 150 legal pads of writings which they call morning pages. i’ve no way of knowing if they’ve helped me or not.but i haven’t thought of walking half way across the george washington bridge lately.

i do remember this nutty girlfriend who was so insecure about our relationship that she would read them when i wasn’t around. well between my comments on that relationship and her reading my private musings it wasn’t very good. that whole relationship was wacky from the beginning but my comments and her insecurity weren’t a good mix.

well maybe i shouldn’t say that exactly because the woman i am with now doesn’t even bother to read them or if she does she doesn’t bring them up in conversation. as painful as breaking up with someone is, and that one was because i thought i loved her, i’ve found that life does get better as i do. so that girlfriend, as i was for her, was the way to move onward with our lives. she left her husband and i found someone who learned to love me, sometimes i don’t make it easy. what i learned from that relationship was that i could try and love again, we should never forget how to love one another.

so the morning pages are a pretty powerful event.

well i was going to write about art and photography and how the printer gods are frowning on me, but i’ll have to do that some other time. my finger are sore.

we did see an interesting young artist photographer at daniel cooney gallery named tim roda who does these ‘creations’ is all i can describe them as. he gave a talk sat attended by a few people and a couple of his friends. mary an di went down to hear him because his work is so different. we dropped in on cooney’s gallery, gallery mega opening day this fall when the streets were alive with wine drinking harpies wandering from gallery to gallery. fine arts halloween evening for sure. some tricks some treats. boo

curator looking for artist

October 16, 2009

here is a link to a small gallery on the edges of williamsburg brooklyn called cccp run by a friend of mine, john, who is always looking for emerging artists. do contact him if you’re looking to show in a small funky gallery setting. let him know you saw this posting here.

jene

Talk and Presentation “Fred Stein: Art of the Street/Art of Intimacy”

October 9, 2009

Save The Date!    October 27, 7 PM

Talk and Presentation
“Fred Stein: Art of the Street/Art of Intimacy ”
Paris 1930’s, New York 1940’s, Portraits

Peter Stein, the son of noted photographer Fred Stein will be giving a talk and video/slide presentation about his father on October 27, 2009, at the Soho Photo Gallery located at 15 White Street, between West Broadway and Avenue of the Americas. There will be a reception starting at 6 pm. The program will begin  at 7 pm.

Street scenes of Paris in the years just before the German occupation, and New York during and just after World War II, capture the vitality and pathos of these two vibrant cities His portraits of intellectuals, artists, and statesmen reveal the unique character of the men and women who shaped the political and cultural events of the 20th century.

Educated as an attorney at German universities and deeply involved in anti-Nazi politics from his youth, Stein was forced to leave his country in 1933.  Unable to practice law in his adopted country, France, he made a vocation out of his photographic skill.  In 1941, before the occupation of Paris, Stein and his family again escaped the Nazis by emigrating to New York City where he worked as a freelance photographer until his death in 1967 at the age of 58.

Stein, whose works were recently on exhibition at the International Center of Photography (NYC), is represented in collections of The National Museum of American Art (Smithsonian), The National Portrait Gallery (Smithsonian), the ICP, The Jewish Museum (NYC), The Center for Creative Photography (Tucson), and museums, galleries, and private collections around the world.
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Peter Stein is a Professor of Cinematography in the Graduate Film Program at New York University. He has photographed over 50 feature films and television movies for the last 35 years.

Visit Soho Photo

Soho Photo Gallery has been showcasing a broad spectrum of imagery by emerging and veteran photographers since 1971. The Gallery is in New York’s historic TriBeCa district, three blocks south of Canal Street between West Broadway and Sixth Avenue. Subways: #1 to Franklin Street or the A, C, E, W, N, R or #6 to Canal Street.