Archive for the ‘Photography’ 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

robert frank film:leaving home, coming home

December 10, 2009

well instead of working today i made a loaf of banana walnut bread which has filled the house with its fragrance. i can’t wait until it cools so i can taste it. but more to the point robert frank.

it’s good to revisit things as i did the other day with friends  to re-see the robert frank’s exhibit at the met museum. this time the exhibit wasn’t crowded and there was time to see everything once more.i had a chance to look at the original books and displays things that didn’t seem important the first time. im love seeing the original writings done on typewriters with all the misspellings etc. my bad spelling really intimidated me from writing.

what i realized seeing the show and then movie that when along with the show which i really recommend. “Leaving Home, Coming Home: a portrait of robert frank (1986) december 17, 2:00 pm.

but seeing the show again without the crowd was much better for me. the show prints are exceptional gelatin silver prints which is something i’ve always been confused about with silver gelatin prints also see another explanation at. but any show that spends that much money on prints in this day and age is going to look good.

i must say the banana bread is pretty good also, warm covered it butter not good for my arteries but so smooth going down.

Happy Holidays CB9M Arts and Culture Community!

December 4, 2009
Location: Broadway Housing Communities (Dorothy Day Building)
583 Riverside Drive (corner of 135th Street) ~ 7th Floor Penthouse

RSVP: LLWalton7@gmail.com

Happy Holidays CB9M Arts and Culture Community!

Below please find the Agenda for our upcoming Dec 7th meeting along with a special Invitation to join us and the entire CB9M community as we celebrate the holiday season.

Our meeting will have an arts & education focus, this month, as members from the Maysles Institute (a cinema, media production & filmmaking organization) will present and discuss their diverse, year-round educational programming opportunities for young people and adults, including a summer filmmaking program for teens between the ages of 13-17.

Open Mike & Entertainers Delight:  Please bring your favorite dish, poem, scene from a play, photograph, song, monologue, ETC…all artistic contributions are welcome…please share & exchange something creative with our community at this holiday gathering.

Thank you…looking forward to a great time!
~Linda & Diane

CB9M
ARTS & CULTURE COMMITTEE MEETING
Location: Broadway Housing Communities (Dorothy Day Building)
583 Riverside Drive (corner of 135th Street) ~ 7th Floor Penthouse

Committee Members:
Linda Walton, Diane Wilson ~ Co-Chairs
Debra Ann Byrd, Donitra Clemons, Vicky Gholson, Christa Giesecke ~ CB9M
Stephanie Berry, Magali Damas, John-Martin Green, LaQuita Henry, Michael Palma Lee-Ann Pinder ~ Public Members

AGENDA
December 7, 2009 meeting 6:30 pm – 7:30 pm  (Holiday Celebration Follows: 7:30 – 10:00 pm)
1. Call to Order
2. Attendance
3. Agenda Approval
4. Minutes Approval
5. Maysles  Institute
a. Cinema Program – Philip Maysles & Jessica Green
b. Education Programs 2010 – Vee Bravo
6.  Old Business
a. Arts & Politics – The Series ~ Stephanie Berry
b. Launching the Arts & Culture Directory ~ Darryl Hell; Co-Chairs
7.  New Business
8.  Adjourn
9.  PARTY! ~ CB9M Holiday Celebration

NEXT MEETING ~ January 11th* 2010 ~ 6:30 PM ~ BROADWAY HOUSING
583 Riverside Drive (corner of 135th Street) – 7th Floor Penthouse

*PLEASE NOTE ~ WE WILL MEET THE SECOND MONDAY IN THE MONTH OF JANUARY DUE TO THE HOLIDAYS.

DIANE AND LINDA WISH YOU AN EXCEPTIONALLY PROSPEROUS, CREATIVE AND HEALTHY NEW YEAR!

—–Inline Attachment Follows—–

_______________________________________________
opportunities mailing list
opportunities@chashama.info
http://lists.chashama.info/mailman/listinfo/opportunities

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// // YAHOO.fcue.IE6 = true;YAHOO.fcue.IE7 = true; // // // // // //

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.

Driving into the sun with kerouac

November 30, 2009

it’s a slow process recovering from rotator cuff surgery but hey i had nothing else planned for these past weeks so why not experience something new? but today as the rain beats against my window and i struggle with my creativity why not remember, memory is so frail and ephemeral, or at least try to some of the more comic events in my life.

this won’t be about pictures although as minor white says ‘i am always mentally photographing every thing as practice.’ just the pictures in my memory or what is left of it, everything degrades with time, becomes warped with the heat of thought. as if a passing thought somehow warps another in its passing by.

this is about a long long time ago, the summer of  1964 in northport on long island new york. i guess it relates to robert franks ‘the americans’ as franks say ‘you can photograph anything.’ but this is a photographic memory without a camera.

that summer i had the job as stage manager/ lighting designer/ driver and a few other jobs i’ve probably forgotten. the theater was the red barn, the show the fantasticks, the town northport ny and the car a 1956 blue and white ford station wagon.

that’s where and why i met jack kerouac . there wasn’t much for me to do after the show  which is unusual for a summer stock playhouse. the show ran for 6 weeks or so with my only duties being running the show and picking up people either in the new york city or the train station. i don’t do ‘having time on my hands well’, at least in those days.

my first form of entertainment was drinking or at least hanging around bar rooms. that was how i got a lot of jobs in those days from my bar room friends but this one was actually gotten through a trade magazine.  after work with nothing else to do usually found me wandering around the town looking for something. that’s where i met kerouac we were both looking for something.

there is a much more informative account of the life and times of jack kerouac in nortport naming people, places and times. maybe not the same people i knew nor who jack knew but more respectable ones with addresses. the thing i liked about nortport was the harbor which was part of the huntington, centerport and nortport harbors. this is primarily a fishing working class village.

how i got involved with these people i am not sure, maybe a self-image problem of mine but at a bar with drinks flowing everyone is equal. there was this guy quite charming even drunk as a skunk who wore these checkered 5 and dime shirts. jack was quite a handsome man before the booze bloated him up as he looked now.

in his early writing career he summered in fire watchtowers alone in the wilderness. anyone able to do that isn’t  a slouch at all, but now he was just an educated overgrown kid. i was amazed at some of the stuff that would come out of his mouth nonstop. he considered himself a jazz musician and wrote that way. my literary knowledge wasn’t developed enough to keep up with him. i was still doing the classics hemingway, durrell  maybe camus and baudelaire. so i knew there was something jack  was talking about.

there never was a problem of finding something to do when the bars were open, the problem came after the bars  closed. what to do before unconsciousness overcame us? the clammer’s usually had to get up early in the morning to haul their catches into the wholesaler at a reasonable time of day. they had a airstream trailer secured to a floating raft in the harbor outfitted with double bunk beds and a small kitchen.

jack and i would sometimes hitch a ride with them to the trailer or out to a tent they had across the harbor. it was pretty neat screaming across the harbor full speed ahead towards the tent with a couple of drunks. some fun with harbor and land lights whizzing by into the darkness winding up beaching the boat at 25 mph or whatever, being thrown onto the sand laughing.

or jack would convince me to go into the city with him to see some friends, maybe score some weed. maybe it was just the drive he liked reminding him of all those miles spent with cassidy driving across the country, or maybe the companionship. it wasn’t a long drive maybe an  hour or so, of course we were probably drunk at least by the legal definition of it. i remember one night jacks friends didn’t answer the buzzer and i had to help boost jack up to the firescape while he climbed up to their windows.

jack didn’t like drugs per say other than booze maybe he just tolerated weed something to calm hm down. we were all looking to escape somewhere and i guess he have more to than i. but we had booze in common and i had the keys to the ford and memories long past. since then i’ve read a lot of his books and understand him more that i am older. i only wish i knew him better then.

this was in soho before there was such a thing. there were no people on the street, no nothings except maybe a few rats running across the street darting under a few parked trucks. there i was asleep in the front seat of a 1956 blue and white ford station wagon. sometimes i was invited in to share in the booty.

but it was the drive home that i remember so well. we drove against rush-hour traffic then but i am sure now it’s everywhere. the long island expressway goes straight east from new york, most of the times right into the raising blazing red sun. it’s a wonder in those days we didn’t kill ourselves not for us not trying but maybe we were watched over for some reason or worst yet to kill some innocent being with our stupidity.

i liked jack but felt sorry for him as his mother controled his life but someone had to as he didn’t seem to be able to. there were a lot of good people in my life that summer. i’ve been lucky in life. that fall jack moved to florida or paris or somewhere he later wrote the esquire magazine article which i bought and read. them he died in 1969, i was sad for he touched me with his humanity.

these thoughts filled my head seeing robert franks work. the freedom of driving across america, europe, panama or anywhere. being an american, cars have played an important part in my life, having them or not having them has always been important. i’ve driven this country alone or with my family staking out a new life.

i could spend hours seeing the sun set across the smooth cool pacific ocean as i am not a morning person. there are times in my life when i wish i had a camera and other times when i do i do nothing. it’s enough just to be there. photography is about the past not the present.

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.

So long Soho Photo

November 13, 2009

i’ve decided to move on from Soho Photo as they were not meeting my expectations or needs in a gallery. as Susan Sontag said “In America, the photographer is not simply the person who records the past, but the one who invents it.”

i found very few inventive photographic artists involved with the gallery. that’s not to say that there aren’t some very good photographers involved with the gallery. but some of the exhibits show a total lack of creativity, in my opinon.maybe it’s an age thing as the members seem to be much older than i but they aren’t really.

how one gets into the gallery is to submit a portfolio on their portfolio review day to the Booking Committee made up of members of the gallery who then reviews the submitted portfolio. the guidelines aren’t very specific other than saying ‘No books’ but a selection of your best work is suggested. what is not said i believe, is they want to see a portfolio of work that is ready to go on the walls.

i was rejected my first time as have been some friends of mine for having a too wide a range of subjects in my portfolio. by not giving specific instructions it gives the committee wiggle room to reject anything they so choose on any grounds. what may play an important role in acceptance to the gallery is who you know.some get accepted on their fist try while other very strong photogs are turned away.

i have been rejected three times by the gallery so far, once in the beginning and twice for a membership upgrade. once i was told the Committee reviewing my portfolio ‘didn’t feel like dancing’ after see my work to which Mary replied ‘because they are too old!’

in the two years i was involved with the gallery it seemed more a social club than a serious gallery. Soho Photo seems to have evolved into a vanity gallery with no serious press coverage or outside critical review.

i am sure i didn’t endear myself to the members when i asked at a business meeting ‘why would i want to be a member of Soho Photo?’ i think that’s a valid question. it’s a place to show your work only if the booking committee accepts your submission. they can reject your work on any grounds even after you become a member so there is a group censorship.they call it protecting other members.

with exhibit space at a premium in New York City it’s so hard for artist/photographer to be seen much less reviewed in the press that finding a clean lighted place to show your work can be critical in ones career, but so can association.

i have found in my life when one door closes another opens and it’s usually a better place as life is progressive. so it’s time to move one. where i don’t know but that’s not important. i have love in my life and i truly love what i do as well as the people around me.

i can now concentrate on the challenges at hand. working with a woman documenting her breast cancer journey.

All i want to do is make art or color management gone wild again.

November 3, 2009

i never wanted to learn how to type on a typewriter because of my phonetic poor spelling.i wanted to draw.

i wasn’t sure i wanted to learn how to use a computer but it did help my spelling. so i bought an Apple CI computer.  but now i am being held hostage along with a few other thousand of people by code writers. i am not talking about the Navaho  peoples who helped this country during WW ll but the whizz kids writing computer code.

at photo expo 2009 i talked with the HP printer people trying to learn how to not have their printers color manage my pictures.it seems turning ‘off ‘color management on their printers isn’t easy. the salesman showing the HP 9100 products had a hard time finding the right places to look, so it’s really not intuitive because they hide it in the print dialog box- copies & pages> paper type> color>  application managed color. now why couldn’t they just say ‘no color management?’ well Epson says that.

i did have a nice exchange with another photographer wanting to learn exactly the same thing as i as we waited for the salesperson to learn how to educate us. he showed me some of his B&W prints to which i asked if he’d ever had them printed on Kodak’s metallic paper, i suggested Adorama prints whom i’ve always found quality work from. i also suggested he try the silver edition B&W prints they carry.one of my  shameless plugs for a friends company PTS who carries Fuji Frontier printers and off topic.

Ok but this is the least of the printing problems i have now under  Tiger OS. now we move onto the big cat Snow Leopard and that gets really strange. i come from using Epson printers since they were the only company that was producing fine art printers, well the only one i could afford, Roland was way out of my league.i learned how to make my own color profiles, well after i huddled in the corner for years at the mention of color management, i found print fix pro from Datacolor way cool and made my prints better.did i mention a free upgrade to my software, now how many companies do that?

so i go out and buy a new Apple quad core 2.93  with  Snow Leopard but thinking i am gonna keep my old G4 as a print server just in case there are printing issues. i am getting smarter in my old age. seems everyone is having printing issues with  Snow Leopard. my yahoo Epson printing group are all a buzz with issues and few soultions.

there is one web site i know of, remember my knowledge is limited, the Luminous Landscape has a work around posted at http://luminous-landscape.com/tutorials/solving.shtml. but why? how to print a no color managed print or you select the color management and not have it turn out some other color. this is the first they’ve heard of it? what planet do they live on?

don’t these people from Apple, Canon, Epson, Hewlett-Packard, Samsung ever talk to each other? why can’t we have some standard to go by in printer drivers. is it such a dog eat dog world out there that we the user can’t have a dependable work tool.

has greed and fear taken over the entire world? i thought it might have subsided a bit, with our newly elected president, so we could believe in creation again, and building a better world.

but old habits are slow to die off. one of the reasons i keep old computers around, remembering when i was young i’d get into all kinds of troubles loading some new software on my computer and being asked by customer support ‘why’d you do that?’ and not having a good answer for them.

oh well

 

 

 

Hell’s Kitchen Artist Studio Tour Nov 7-8 2009

October 30, 2009

well for those of you who would like to meet me i’ll be opening my studio during this event located at

Youtt, 427 51st Street, 3A, New York, NY, 10019 between 9th & 10th Ave., 212 664 1039

hell's kitchen artist studio tourHKArtiST(2)

the tour actually begins on Nov 6 with an opening party at Bar 9 on Tenth Ave but i’ll be at Emmanuel’s opening that night.

as this is the first event of this kind in the neighborhood i am hoping to meet some of my fellow artists whom i pass on the street anonymously. so far i’ve met a few very talented artists, one woman had a postcard of one of her watercolors which i recognized immediately as the lobby of the Paris Opera house. how cool is that?

maps will be available at Fountain Gallery, 702 9 Ave, NYC on the corner of 9th Ave & 48th Street. beginning Nov 6, 2009.see www.artistinthekitchen.org for more information.

i am hoping mary will baby sit a bit so i can visit some other studios.

so if you’d like to meet me and say hello or better yet buy one of my prints, actual SALE of some odd sized prints returned from a show i had in Kyoto, Japan do stop by.

i had suggested we buy balloons to display aiding location for the visitors. if lost give a call.

see you then.

jene

Thomas Barbey exhibit

October 30, 2009

hi guy & gals

a friend and curator Emmanuel Fremin at his gallery of the same name is having an opening of Thomas Barbey’s work on November 6 thru 26 2009 at his gallery at 546 Broadway, PH 5B , NYC, NY opening reception 6-8p.SowingtheSeedsofLove

ODUOMOMIOCrashCourseinItalian

emmanuel always has interesting artists and it’s a pleasure to see him back on the boards in new york city again. especially with pictures from our favorite city.

welcome

jene