Posts Tagged ‘Chicago’

SEPTEMBER EVENTS: Chicago, Boston, and Santa Fe

September 5, 2011

Alex Webb, “Nuevo Laredo, 1996,” from the book, “Crossings,” part of the Stephen Daiter Gallery exhibition this month

Hope you can join us for one of our three September events:  Alex’s opening for “The Suffering of Light” at the Stephen Daiter Gallery on Friday evening, September 9th from 5 to 8pm; our joint gallery exhibition, which includes work from our Cuba book and Museum of Fine Arts exhibition, “Violet Isle,” at the Robert Klein Gallery on Saturday afternoon, September 17th, from 2-4pm.

Lastly, please join us for our  joint slide talk and book signing   “Together and Apart,” including a conversation with Radius creative director and noted book designer, David Chickey, at RADIUS BOOKS in Santa Fe, Friday, Sept. 24th, from 5:30-7 pm, which will be held just before the CENTER’s panel of photography experts, including New Mexico Museum of Art curator, Katherine Ware, and Photo-Eye’s Melanie McWhorter, a talk which is located nearby.  Both the RADIUS and CENTER events are free and open to the public.

Please let us know if you can attend any of the events by posting a comment below. Looking forward to seeing some of you this month.––Alex Webb and Rebecca Norris Webb

Rebecca Norris Webb, Havana, 2008, from VIOLET ISLE exhibitions this month at Robert Klein Gallery, Boston, and Museum of Fine Arts, Boston

THREE UPCOMING OCTOBER EVENTS:  Hope to see some of you at Alex’s slide talk and conversation in Washington, D.C., at the Mexican Cultural Center, on Thursday, Oct. 6th; our joint slide talk in Oslo on Monday, October 10th: and at our talk and book signing at PowerHouse Books in Dumbo on Sunday, October 23d, at 5pm.  We’ll have links and details by the end of the month.––Alex Webb & Rebecca Norris Webb

Rebecca Norris Webb, from the upcoming book, "My Dakota," (Radius, May 2012) and September 23d slide talk in Santa Fe (wtih Alex Webb & David Chickey at Radius Books)

WORKSHOP UPDATE: For those working on a long-term project, there are still a few spaces left for the BOOK WEEKEND WITH RADIUS BOOKS the third weekend in September, and the PHOTO PROJECT WORKSHOP the last week in October.  Former Webb workshop participants are invited to apply without submitting a formal application, but other photographers will be considered as well.  Please contact Rebecca for more information: rebeccanorriswebb@yahoo.com

Nancy Webb will be honored at the October 1st PAAM Gala

Nancy Webb, "Sunflowers"

TWO CONGRATULATIONS:  We’d like to congratulate Alex’s talented mother, NANCY WEBB, for being awarded a lifetime artist award at the Provincetown Art Association and Museum.  Hope to see some of you there at the PAAM ARTrageous Celebration & Silent Auction on October 1st.  We’d also like to congratulate DIMITRI MELLOS –– whose PHOTO PROJECT WORKSHOP project last October, “Its Strangest Patterns” –– was awarded Blurb’s First Runner Up in the Travel Category.––Alex Webb and Rebecca Norris Webb

Dimitri Mellos, Its Strangest Patterns

WOODSTOCK: Webb Slide Talk Saturday, August 27th

August 21, 2011

Alex Webb, cover of "The Suffering of Light," Aperture, 2011

Please join us on Saturday, August 27th, at the CENTER FOR PHOTOGRAPHY AT WOODSTOCK, for our slide talk and book signing, “Together and Apart,” at 8pm.

You’ll also find a new audio piece about our “Violet Isle” exhibition at the MFA, Boston, at this link.

We’ll have more soon about Alex’s upcoming Aperture show later this fall in New York, as well as September gallery openings in Chicago and Boston.––Alex Webb and Rebecca Norris Webb

WEBB WORKSHOP UPDATE 

There are two spaces left for the BOOK WEEKEND WITH RADIUS BOOKS the third weekend in September in Santa Fe, which will involve both David Chickey, the prize-winning book designer and creative director of Radius Books, and Darius Himes, Radius editor and noted photo book expert. Please contact me at the below email ASAP if you’re interested in attending. Former Webb Workshop participants are invited to apply without submitting a portfolio, but other photographers will be considered as well.  For more information, please visit this link on the Magnum Events page.  This workshop is not only a great way to support your own long-term project, but also Rebecca’s upcoming “My Dakota” book as well.–Alex Webb (email: rnorriswebb@yahoo.com)

FOUR CONTINENTS: 15 Photographers

December 28, 2009

We invited photographers we’ve met in workshops around the world and through this blog to help us celebrate the new year by posting a photograph and giving us an update about their work. So here are 15 photographs taken on 4 continents by photographers from 10 countries around the world.  “Happy New Year” to all of you. –– Alex Webb and Rebecca Norris Webb

David Belay, Hessen Germany, 2009

I started shooting a circus two years ago as I was looking for something to photograph in my otherwise gray city that would be suitable for color photography. I liked it and it evolved into a long-term project about circuses, and more specifically about the backstage of circuses, a territory I see as a border between the world of the show and the “real world.” ––David Belay

Dimitri Mellos, Athens, Greece, Christmas 2009

Dimitri Mellos is working on a long-term project in his native country of Greece, as well as continuing to photograph the streets of New York where he now lives.  Dimitri’s website: www.dimitrimellos.com.

Chantal Heijnen, Bronx, New York, 2009

The Dutch photographer Chantal Heijnen is working on a long-term project in the Bronx. To learn more about Chantal and her work visit www.chantalheijnen.com

Andreas Kalmes, Seattle, 2007

I recently launched a new website: www.andreaskalmes.com

I also had an exhibition at an “Art Walk” event in September in the Seattle International District. In addition, I’ve been back to Japan to continue my project on the Tsukji fish market, expanding it somewhat to include smaller fishing towns and markets that are part of Tsukiji’s supply chain.––Andreas Kalmes

Prantik Mazumder, Calcutta, 2008

This photograph (above) was taken in Calcutta. I was sitting in the back of a taxi, and we were stuck for about an hour behind a tram in one of those miserble traffic jams of Calcutta. Boredom inspired a decent shot.–– Prantik Mazumder

For more about Indian photographer Prantik Mazumder: http://www.photoholik.com/projectsListe.aspx?photographer=prantik

Matthew Goddard-Jones, Chicago, 2009

The Australian photographer Matthew Goddard-Jones took this photograph on Michigan Avenue in Chicago.  He is currently working on a long-term project in Perth, Australia.  To see more of his work: www.goddard-jones.com

Francois Dagenais, Smokey Mountain, Philippines, 2008

François has worked as a cinematographer on both feature and documentary films. The films he has photographed have been shown at festivals such as Sundance, Havana, and Toronto. They have also been showcased at New York’s Museum of Modern Art, the Institute of Contemporary Arts in London,  the Boston Museum of Arts, and the Brooklyn Museum.

After moving to Toronto in 2005, François re-discovered his passion for still photography.  He participated in various group shows in Ontario, and was awarded a development Chalmers Professional Development grant from the Ontario Arts Council for a mentorship with Magnum photographer Alex Webb. The grant included a workshop in Cusco, Peru with Alex Webb and Rebecca Norris Webb. He subsequently won first place at the Insight Juried Art Show presented at the Wellington County Museum  in Fergus Ontario. Dagenais is currently working on a series entitled Smokey Mountain, which documents one of the most densely populated areas on earth.

To see more work from Francois’s Smokey Mountain series: http://www.photoshelter.com/gallery/smokey-mountain/G0000eOmoIFH2hG0/

There will be a screening in New York at the Center for Architecture on February 26  and 27, 2010, of the documentary, “Malls R Us.”

http://icarusfilms.com/new2009/mall.html

German Romero Martinez, Mexico

German Romero Martinez, Piedra Labrada, Mexico, 2004

Here’s a link to Mexican photographer’s German Romero Martinez’s blog: http://imagoscapes.blogspot.com/

Rajiv Kapoor, Bethlehem checkpoint

I have a show opening on the sixth of January at the Vera Art Gallery in Seattle (Warren Ave N and Republican St.). The show is titled “Landscapes of My Land” with images from Palestine and Old City of Jerusalem. I have included one of my favorite images (above), which is from a checkpoint in Palestine for people to get into Israel. The images from the show are on www.rajivkapoorphoto.com/land . –– Rajiv Kapoor

Uwe Schober


I have started a project about homeless people who have been put up in caravans by a charity in Frankfurt/Germany… The aim is to give these people some personal space to enable them to get back on their feet. What strikes me most is the slippery path from a well-established, secure life to that of a roaming, aimless, homeless person… Listening to their biographies, you realize that sometimes simply one wrong turn at a critical time of their lives set in motion a chain of events that led to homelessness… One of them lost a daughter to cancer and was thrown off balance, which led to the loss of his job and ultimately of his home… one other had a costly divorce… one other suffered a stroke and ended up on the streets… I am exploring this through the use of diptychs, juxtaposing portraits of the people living in the caravans and how they have personalized their (temporary) space.–– Uwe Schober

website: www.rupertbeagle.com

Cathy Scholl, rodeo, New Mexico

After twelve years of annual visits to India (1995-2006), I took three years off to buy and remodel an old adobe in New Mexico, where I took the above photograph. In January, I am very excited to be returning to India for five weeks. I’m looking forward to seeing with new eyes!––Cathy Scholl

Cathy’s work and bio: http://www.santafe.com/photographers/

Cathy’s website (under construction): http://www.cathyscholl.com

David Bacher, Paris, 2009

The above photo was taken just outside of the Carrousel du Louvre in the Tuileries Garden in Paris. The woman pictured was extremely fond of pigeons. They seemed like her pets as she spoke to them, pet them, and fed them copious amounts of dried corn.

Most recently one of my photos was published on the Verve documentary photography blog http://vervephoto.wordpress.com/, thanks to one of my pictures having been shown on an early post on the Webb’s blog.  I also recently showed one print at The Art of Photography Show in San Diego, California.––David Bacher

David’s website: www.davidbacher.com

Muema, Southport, UK, 2009

The photo was taken at the Southport Weekender music festival in November.

The festival organizers decided to use it for their current press photo: http://www.southportweekender.co.uk/flyer/261109/

I have also just launched a new website (link below). –– Muema

http://www.muemaphoto.com/

Thomas Lindahl Robinson, Cuba

I have a new website, http:www.thomaslindahlrobinson.com, where you can view the latest work from Cuba, titled “New Work,” which was photographed this past summer, and the current project titled, “Dreaming In Cuban.”  Attached, is an image of Cosette, who I have been photographing  for the past two years. This particular image of her was taken six months after her surgery to correct a curvature of her spine. According to the doctors her surgery is considered a success despite pain that she feels on a daily basis. I wil be visiting her on my next trip and photograph her once again.––Thomas Lindahl Robinson

Alejandro Briones, Mexico City

Mexican photogapher Alejandro Briones has launched a new website:

www.alejandrobriones.com

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