Posts Tagged ‘Darius Himes’

RADIUS SCHOLARSHIP: Judges Announced

January 28, 2013
Alex Webb

©Alex Webb, “Havana, 2013″

Judges have just been announced for the RADIUS BOOK SCHOLARSHIPS : James Estrin from the The New York Times Lens Blog,  Stacey D. Clarkson from Harper’s Magazine, photographer David Taylor, University of Arizona faculty and 2008 Guggenheim Fellow, and the Editors of Radius Books.  These tuition-free scholarships will be awarded to photographers who are 27 years old or younger to attend the BOOK WEEKEND @ RADIUS WORKSHOP in Santa Fe in March.  

DEADLINE FOR THE SCHOLARSHIP IS FRIDAY, FEBRUARY 22.  For more information about the scholarship and the upcoming workshop (only a few space left), please read about the workshop and scholarship below.—Alex Webb and Rebecca Norris Webb

PLEASE NOTE OUR WEBSITE HAS CHANGED:  http://www.webbnorriswebb.co/

ALEX FEATURED ON THE NEW YORK TIMES LENS BLOG

FLAK Q&A ON THE MAKING OF “MY DAKOTA” WITH RADIUS BOOKS EDITORS 

Rebecca

©Rebecca Norris Webb, from “Violet Isle” (with Alex Webb)

BOOK WEEKEND@RADIUS: Alex Webb, Rebecca Norris Webb, & David Chickey

Friday evening, March 22, 2013 thru Sunday afternoon, March 24, 2013, Radius Books offices, 227 Place Ave., Suite W., Santa Fe, NM

——28 JANUARY UPDATE: ONLY A FEW PLACES LEFT IN THE WORKSHOP: PLEASE CONTACT THE WEBBS TO RESERVE A SPACE. SEE DETAILS BELOW.

This intensive weekend bookmaking workshop is open to anyone who is passionate about a photography project that he or she has been working on –– from serious amateurs to seasoned professionals, from documentary photographers to art photographers, from those photographing a theme, a place, or an issue to those working on a more personal series of photographs of family or friends. This workshop will help each participant learn how to take his or her project to the next level.

The workshop will be taught by Alex Webb and Rebecca Norris Webb, a creative team who’ve edited seven books together — including Rebecca’s My Dakota, Alex’s The Suffering of Light, and their joint books Violet Isle and the upcoming Memory City —and by noted designer David Chickey, Radius’s publisher and creative director who has designed photo books for more than 20 publishers and museums over the last 15 years.

Through an individual assignment tailored for each participant, presentations, discussions, and an editing exercise, the Webbs and Chickey will explore with you a variety of book-related topics over this intensive weekend, including such issues as how to discover the heart of your photography project, how to edit and sequence a photo book intuitively, how to figure out what’s left to photograph for your project, how to choose a writer, title and cover image, how to work with a designer, what to expect when you go on press, and how prints in a book differ from prints on a wall.

To apply: photographers must submit 10 small jpgs (72 dpi, 8 inches on longest side) or a link to your project online, and a short statement about the project (no more than 250 words), as a word doc to the Webbs: webbnorriswebb@gmail.com Former Webb Workshop participants are invited to apply without submitting a formal application if Alex and Rebecca are familiar with your project. IF YOU ARE 27 OR YOUNGER AND WISH TO APPLY FOR A TUITION-FREE RADIUS BOOKS SCHOLARSHIP, PLEASE NOTE THIS IN YOUR APPLICATION, AND INCLUDE A SHORT BIO AND TWO NAMES AND EMAILS OF PEOPLE FAMILIAR WITH YOUR WORK (SUCH AS PROFESSORS OR EDITORS) THAT THE JUDGES MAY WANT TO CONTACT.

For more information about the workshop, please contact Alex and Rebecca: webbnorriswebb@gmail.com, or visit the Magnum website.

OTHER UPCOMING 2013 WORKSHOPS WITH ALEX AND REBECCA

——MAY 4-10, 2013: FINDING YOUR VISON @ CAPTION GALLERY, NY.  APPLICATIONS FOR THIS WORKSHOP OPEN ON JANUARY 22, 2013.  For more information about this workshop, visit Alex and Rebecca’s workshop page on their website:  http://www.webbnorriswebb.co/

 

 EXHIBITIONS
——FEB. 2.,  7-10PM, ATLANTA, 112 KROG ST. NE at Atlanta’s Stoveworks Complex, “SOAR,” a group show featuring the work of Rebecca Norris Webb, Jason Houston, and others.  After Feb. 2, the show will hang in the Jennifer Schwartz Gallery space until the end of February.  More information here.

——DEC. 14, 2012 – MAY 4, 2013, Salt Lake, Utah, Brigham Young University of Art, “The Suffering of Light: 30 Years of Photographs, Alex Webb’s solo traveling exhibition organized by the Aperture Foundation, NYC.

——NOV. 8 2012-JAN. 27, 2012, LONDON, “CARTIER-BRESSON: A QUESTION OF COLOR,” group exhibition with Alex Webb, Trent Parke, Joel Meyerwitz, Harry Gruyaert, Helen Levitt, Saul Leiter and others, an exhibition curated by William Ewing.

LINKS FOR ALEX AND REBECCA:
“MY DAKOTA” ONE OF TIME’S BEST PHOTO BOOKS OF 2012.
 
LINK TO THE NEW YORK TIMES LENS BLOG Q&A WITH REBECCA ABOUT “MY DAKOTA”

LINK TO NOTES ON “THE SUFFERING OF LIGHT’ BY ALEX WEBB ON TIME LIGHTBOX.

LINK TO “MY DAKOTA” ON TIME LIGHTBOX.

LINK TO ALEX’S EAST LONDON PHOTOGRAPHS IN THE AUGUST 2012 ISSUE OF NATIONAL GEOGRAPHIC.

TO READ THE  FRACTION MAGAZINE REVIEW of MY DAKOTA CLICK HERE.

“LOOKING AT THE LAND” IN AMERICAN PHOTO MAGAZINE.

“My Dakota” Limited Ed., Radius Book Workshop

June 29, 2011

Rebecca Norris Webb, Fallen Apples, print option for "My Dakota" limited ed.

Before we head out to photograph for the summer — Alex south to Peru and Rebecca west to South Dakota — we just wanted to thank our online photographic community for all your support this past year.  And we’d like to give  a special thanks to all of you who have reserved one of the “My Dakota” limited editions, which will help Radius publish Rebecca’s book next spring.

In addition, we hope some of you can join us for the Book Weekend Workshop with Radius with Radius publisher and creative director, the acclaimed book designer David Chickey, and noted photo book expert, Radius book editor, and coauthor of the new book, Publish Your Photography Book, Darius Himes, in Santa Fe the third weekend in September this year. This intensive weekend workshop is a great way to explore what’s the next step for your long-term project as well as an additional way to support Rebecca’s “My Dakota” book.

Please stay in touch over the summer, and we hope to see some of you at Alex’s opening at the Stephen Daiter Gallery in Chicago on Friday, September 9th, and at our joint show at the Robert Klein Gallery in Boston on Saturday afternoon, Sept. 17th.  Looking forward to working with the photographers of our most advanced and intensive project workshop, Photo Project Workshop 2011 at Caption Gallerythe last week in October, that will culminate in a book dummy, a designed cover of the book, and a show at the Caption Gallery after the workshop.  (See below for more details; as of July 1, two places are left). —Alex Webb and Rebecca Norris Webb

“MY DAKOTA” LIMITED EDITION

Edition of 30 (first 25 @$500; last five @$900)

11×14 signed Type C print and signed, editioned book with one of Rebecca’s handwritten text pieces

As of July 1st, 22 of the limited editions have sold.  Thanks, everyone, for your generous support of Rebecca’s book. We couldn’t do it without you.  I’m about to send out the second round of emails.  If you haven’t yet heard from me, feel free to contact me directly to see the pdf of all eight print options (including the three in this blog posting). Thanks, again. — Alex  (my direct email: rnorriswebb@yahoo.com)

UPCOMING PHOTO PROJECT WORKSHOPS WITH ALEX AND REBECCA:

––Book Weekend with Radius Books (and the Webbs):  Friday, Sept. 23, to Sunday, Sept. 25, 2011, Santa Fe, NM

–- The Photo Project Workshop: Sunday, Oct. 23, to Saturday, Oct. 29th, 2011, New York

All former Webb Workshop participants are invited to participate, but others will be considered as well.

Rebecca Norris Webb, Black Birds, print option for "My Dakota" limited ed.

Rebecca Norris Webb, Sheep Mountain, print option for "My Dakota" limited ed.

POSTINGS: JANUARY 2010

January 4, 2010

This month’s column includes MAKING BOOKS, highlighting our upcoming slide talk and book signing featuring Violet Isle and three other books, TWO QUOTES from noted book publishers Lesley Martin (Aperture) and Darius Himes (Radius) about the future of the photo book, and, lastly, TWO LINKS, which is a farewell to photographer Larry Sultan who died last month.––Alex Webb and Rebecca Norris Webb

MAKING BOOKS: SLIDE TALK AND BOOK SIGNING

Alex Webb, Barrio Chino, Cuba, 2007

This Thursday, join us for a slide talk featuring four of our books and two unpublished projects in the East Village at the Sidewalk Cafe, 94 Avenue A at Sixth Street (take the V or F to the Second Avenue Stop). The hour-long talk is part of the PROSE PROS series and will start promptly at 6:30, and ends at 7:45pm.  We’ll have  a few copies of Violet Isle, The Glass Between Us, and the out-of-print, Under a Grudging Sun (Haiti) available for the signing afterwards. Hope to see some of you there. –– Alex and Rebecca

For more information about this event, visit Magnum’s Events page.

Rebecca Norris Webb, Faith, South Dakota, 2009

TWO QUOTES: LESLEY MARTIN AND DARIUS HIMES

Over the past month, there’s been a lively online discussion about the future of the photo book, including what it may look like in 10 years and whether it will be digital or physical (you only have to visit Alex’s and my Park Slope brownstone to see where our sympathies lie: We have a collection of over 2000 photo books).

Below are TWO QUOTES excerpted from essays by Aperture’s publisher, Lesley Martin, and Radius Books’ Darius Himes, as well as links to their full comments.  Alex found Darius’s perspective particularly refreshing in that it put the photographic book into the historical context of bookmaking through the centuries.––Rebecca Norris Webb

…I’m optimistic, overall, that people clearly love the physical photobook as an object. Hopefully they will continue to put money where their mouth is and buy them from publishers and small bookstores whenever possible. It’s also exciting that people are curious about pushing into new territory when it comes to bringing together images and text –– in both print and digital forms. There’s a shared sense that things are in transition and we need to find new ways of doing things.–– Lesley Martin

Alex Webb, Rebecca Norris Webb photos, book dummy

Alex Webb, RNW's photos, VI book dummy

…Here are some ideas for “experimentation” with print-on-demand: have the book block created using print-on-demand technology and then take that block and have it bound in a cloth of your choosing at a local bindery; produce a hard cover print-on-demand book and produce a letterpress dustjacket on paper of your choice; design the book for a different trim size, print it in the larger size from Blurb and then have it professionally trimmed to your designed size—you’ll be sidestepping the limits on possible trim sizes; print two slim volumes—one print-on-demand and one using some other method—and have a slipcase or box produced to house the set; use the paper or trim sizes intended for non-photo print-on-demand books and make a photography book. These are just a few general ideas, but I genuinely hope to see more creative innovation with the book form in this next set of contest submissions for 2010 (the contest will launch sometime in the early Spring of 2010, so stay tuned).

With all of the interest in photography books and the history of photography as seen through publishing, there can only be more and more innovation ahead, which is truly exciting. I’m looking forward to seeing the fruits of these discussions over the months ahead…––Darius Himes

TWO LINKS: LARRY SULTAN, A FAREWELL

Larry Sultan, from "Pictures from Home," Janet Borden Gallery

I was sad to see that the photographer Larry Sultan died shortly before Christmas.  Larry was a source of inspiration to a generation of photographers in the Bay area, where he taught for many years.  He produced a fascinating book in the 1970′s called Evidence, which gathered a set of remarkable photographs –– largely from the archives of large corporations –– and showed them in an utterly different context, confounding our expectations of what a photograph is and what it does.  Subsequently, he did a very personal –– but also unsettling –– book on his family, Pictures from Home, as well as a book on the San Fernando Valley, The Valley, in which he photographed in homes rented for the production of pornographic movies.

What I find most intriguing about Larry’s work is that it often questions traditional notions of photography, making us revaluate our understanding of the medium. Below is a link to his New York Times obit, as well as a link to a selection of his photographers from the Janet Borden Gallery in New York, who represents his work.––Alex Webb

Larry Sultan, from "Pictures from Home," Janet Borden Gallery

FOTOFORUM: THE INDELIBLE IMAGE

December 7, 2009

We asked photographers this month to select an indelible image –– one photograph they encountered early on as a photographer that still lingers with them today.  We’re especially pleased to include an indelible image from Darius Himes, one of the country’s foremost experts on the photo book, who is also a photographer, writer, and publisher.  And thanks to everyone who submitted an indelible image. Because we had so many responses to the column, we’ll run THE INDELIBLE IMAGE II next month. –– Alex and Rebecca

DARIUS HIMES ON HARRY CALLAHAN

Harry Callahan, Aix-en-Provence, 1958

One of the first photographers I was introduced to, as a young teenage boy, was Harry Callahan. The introduction came by way of the cover of Henry Horenstein’s Black and White Photography. My father had purchased the book at the suggestion of a colleague, and while the technical language was still far above me, I was deeply impressed by the work chosen. Callahan’s graceful black-and-white image of barren trees in winter not only spoke to me due to the subject matter—I grew up just across the Mississippi River in Iowa, a mere 3 hours from Chicago, where I presume Callahan made this photograph—but also because of the graphic power of the world rendered in shades of black, white, and gray.

But the photograph of Callahan’s that I most responded to, then and now, is his photograph of 1958, Aix-en-Provence, France. Actually, that statement is a bit of a falsehood. There are so many photographs of Callahan’s that I respond to, that to narrow it to one particular image is like asking for a favorite passage from Shakespeare! There are so many that are appropriate for so many situations. But nonetheless, what moves me about this image is the wildness of the underbrush and the seeming impenetrability of the scene. And yet, the more you look, the more things are revealed, by which I mean, the more deeply it impresses itself upon you, untethering your own inner eye along the way. Merely informational facts are not what I’m talking about; what I’m hinting at are the multitude of ways that the outer world has been transformed into a powerful two dimensional, abstracted image. I’m talking about the very transformative power of photography in the hands of an acutely sensitive artist.

There is a concept that is a clarifying one for me that relates to my attraction to this photograph. In both Eastern and Western cosmology is the notion of the mirror-connectedness of the Book of Revelation and the Book of Creation. Here is one exemplary, brief passage that speaks to this subject, from Persian-born Baha’u’llah. “Look at the world and ponder a while upon it. It unveileth the book of its own self before thine eyes and revealeth that which the Pen of thy Lord, the Fashioner, the All-Informed, hath inscribed therein”* John Ruskin, the 19th century British writer and social commentator expressed it this way.

There is religion in everything around us,

a calm and holy religion

in the unbreathing things of nature.

It is a meek and blessed influence,

stealing in as it were unaware upon the heart;

It comes quickly, and without excitement;

It has no terror, no gloom,

It does not rouse up the passions;

It is untrammeled by creeds….

There are a great many photographers and artists who have approached the world around them with awe and wonder. In this image, I see a precursor to photographers like Hiroshi Sugimoto and Thomas Joshua Cooper, as well as echoes of artists as varied as Nio Hokusai, Kandinsky, and the darker aspects of Whistler’s painting oeuvre. What Callahan seems to have mastered, to me at least, was the ability to gaze, with deep intent, at his “immediate” surroundings, without feeling the need to either exoticize nor degrade what he looked at and what he ultimately decided to photograph, allowing “the book of its own self” to reveal itself in all of its own inherent beauty. This is a powerful role that the arts can play in our society and in helping us advance our fledgling, world-embracing civilization.––Darius Himes

* (Baha’u’llah: Tablets of Baha’u’llah, pp. 141-142)

Darius’s websites:

http://www.dariushimes.com

http://www.radiusbooks.org

For more about Harry Callahan:

http://www.stephendaitergallery.com/dynamic/artist.asp?ArtistID=25

To see Hiroshi Sugimoto’s work:

http://www.sugimotohiroshi.com/

To see some of Thomas Joshua Cooper’s work:

http://artnews.org/artist.php?i=735



ALEX WEBB ON HENRI CARTIER-BRESSON

Henri Cartier-Bresson, Valencia, Spain, 1933

My father, when he was struggling with writer’s block––which, unfortunately, was all too often––turned to photography, and as a result had a fine collection of photographic books.  At about the age of fourteen, I started to sift through these books in his study.  As I pored through The Decisive Moment, I remember coming upon this Cartier-Bresson image from Valencia, Spain.  I’d never seen anything quite like it.     As I marveled at the echoing rings of the mismatched spectacle lenses and the half-target on the door, set against––in deep space––that slightly twisted, ambiguous figure in the doors behind, I remember thinking: How can someone see this way?  How can someone find such an enigmatic moment in the world and bring it back as a photograph? I began to sense something about perception, about the moment, about space, and about the unique possibilities of the photograph. I’ve never forgotten this image.––Alex Webb

To see more of Henri Cartier-Bresson’s work:

http://www.magnumphotos.com

REBECCA NORRIS WEBB ON WRIGHT MORRIS

Wright Morris, Clothing on Hooks, 1947

Formerly a writer, I was attracted early on as a photographer to two books that combine text and images:  Walker Evans and James Agee’s Let Us Now Praise Famous Men and Wright Morris’s God’s Country and My People. Both bodies of work expanded my way of looking at the photo book, and eventually led to my intermingling the two in my own work.  Yet, there was something about the lesser-known, Nebraskan-born Morris’s photo-text book –– in which he interweaves his writing and his photographs –– that touched something deeper and more inexplicable in me. Morris’s work is aloof yet engaging, bare-bones yet mysterious, spacious yet intimate –– it is work that suggests the many paradoxes that make up the Great Plains itself, where, like Morris, I also grew up,

I’m not sure exactly how his work manages to evoke all of this in me.  Perhaps it’s because Wright Morris’s objects are often photographed so sparely, yet with such intensity, it creates a kind of space around them.   And this space creates a kind of suggestiveness, ripe for poetic reverie in the viewer, not unlike the experience of driving across the Nebraska or South Dakota prairie with few if any trees or houses to fetter the mind, the memory, the imagination.  So, for me, Morris’s spare objects suggest the Great Plains –- like this photograph of the tattered coats and hat –– as well as evoking a different kind of landscape, a kind of private and interior Nebraska, one that suggests what all that emptiness feels like to an insider, someone who grew up on the Great Plains, and the Great Plains “…grew up in you,” to quote Morris.

And, lastly, there are his accompanying texts that somehow speak to –- or perhaps I should say, speak for –– the photos, texts that are as spare and distilled and intense as the photographs themselves.  I find the text pieces as plainspoken and mesmerizing and mysterious as a Weldon Kees poem, a poet who also grew up in Nebraska.  Reading Morris creates a kind of expansiveness in me, a kind of ache and a kind of delight, which is often my response to the Great Plains.  And, I’m not sure why, but as soon as I finish reading one of his more luminous pieces  (like the one I’ve included below), I find myself starting the process all over again –– a sign, they say, of truly poetic writing.––Rebecca Norris Webb

The man who lives his own life, and wears it out, can dispense with the need of taking it with him. He dies his own death or he goes on living, and where the life has worn in the death will come out. Skin and bones, jacket and shoes, tools, sheds and machines wear out; even the land wears out and the seat wears off the cane- bottom chair. The palms wear off the gloves, the cuffs off the sleeves, the nickel off the doorknobs, the plate off the silver, the flowers off the plates, the shine off the stovepipe, the label off the flour sacks, the enamel off the dipper, the varnish off the checkers, and the gold off the Christmas jewelry, but every day the nap wears off the carpet the figure wears in. A pattern for living, the blueprint of it, can be seen in the white stitches of the denim, the timepiece stamped like a medallion in the bib of the overalls. Between wearing something in and wearing it out the line is as vague as the receding horizon, and as hard to account for as the missing hairs of a brush. The figure that began on the front of the carpet has moved around to the back.––Wright Morris

For more about Wright Morris:

http://monet.unk.edu/mona/first/morris/morris.html

For more about Weldon Kees (including my favorite poem of his “1926″):

http://mockingbird.creighton.edu/Ncw/kees.htm


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