All images Published in Float Magazine are the sole property of the featured authors (photographers, contributers and editors) and subject to copy-rights. No image or text may be reproduced, edited, copied or distributed without the express written permission of its legal owner. No part of this publication may be reproduced in any form, digital or mechanical, printed, edited or distributed without the prior written consent of the publisher and artists. All Rights Reseved.
Float v. float·ed, float·ing, floats Middle English floten, from Old English flotian; see pleu- in Indo-European roots. a. To remain suspended within or on the surface of a fluid without sinking; b. To be suspended in or move through space as if supported by a liquid; c. to put forth (as a proposal) for acceptance; to be lighter than air, and to move slowly through it; to suggest an idea for people to consider to see how they will react;
Pe ne lope U m br ico, R a n g e: O f Swi ss Fo r t Kn ox Su b t e r r a ne a n D a ta Ce nte r (gener ative camera a p p fi l t er s creen m o u n t ai n) # 5 , 2 0 2 1 , NF T Cour tesy of t he ar t ist an d A s s em b l y Cu ra t ed
Pe ne lope U m br ico, Sun S creen St i l l , 2 0 1 9 - 2 0 2 1
Penelope Umbrico
Pe ne lope U m br ico, R a n g e: O f Swi ss Fo r t Kn ox Su b t e r r a ne a n D a ta C e n te r (ge ne rative cam er a ap p fi l t er screen m o u n t a i n ) #3 2 , 2 0 2 1 , NF T Cour tesy of t he ar t ist an d A s s em b l y Cu ra t ed
Pe ne lope U m br ico, R a n g e: O f Swi ss Fo r t Kn ox Su b t e r r a ne an D a ta C e n te r (ge ne rative cam er a ap p fi l t er screen m o u n t a i n ) #4 0 , 2 0 2 1 , NF T Cour tesy of t he ar t ist an d A s s em b l y Cu ra t ed
Pe ne lope U m br ico, R a n g e: O f Swi ss Fo r t Kn ox Su b t e r r a ne a n D a ta C e n te r (ge ne rative cam er a ap p fi l t er screen m o u n t a i n ) #4 7 , 2 0 2 1 , NF T Cour tesy of t he ar t ist an d A s s em b l y Cu ra t ed
Penelope Um br ico, Ra nge: Of Swiss For t Knox Subter r a nean Da ta Center (gener a tive ca m er a a pp f ilter screen m ounta in) #2, 2021, NFT Cour tesy of the a r tist a nd Assem bly Cur a ted
photography
an historical truth. That we, as actors, rarely, if
student, receiving my briefing on the history of
ever, decide the outcome of these discourses.
photography up until the late 20th century. There
That color would be so widely adopted may
are notable phases of change and disruption,
always have been a foregone conclusion.
from the artistic discourses made
The
evident via the demise of the pictorialists, the
technologies
ascendance of modernism, and the eventual
conversations around archiving, appropriation,
domination of the Szerkowski crowd, to the
the death of film photography, and now the
material/technological
made
emergent field of NFTs relitigates these same
evident most clearly within the esoteric debates
old debates around the steady encroachment
around the adoption of color photography within
of consumer capital into an art form made
the fine arts.
most popular by its consumer accessibility (the
I
remember
being
a
young
transformations
same
may
be
true
today,
as
of
digital
hotly
image
contested
democratic photographer and such). Like the I remember staging little debates of our own,
setting of the sun, or the rising of the moon, the
thinking first about the role of color (the new
shaping of our world by these technologies feels,
technology), and then about the role of black and
in some ways, inevitable.
white images (the obsolete mode). When you’re a photography student, such debates are made to
So then, as with the color revolution before it,
feel paramount if only because their conclusion
I think it’s fair to say that we’re undergoing
is, from our perspective in the 21st century,
an
foregone. Color photography is no longer a
proclamations
radical, vernacular mode, nor is it uncommon for
recognition
of
the vernacular image-maker to slap a black and
undergoing
some
white filter onto images of their own.
takes a careful and steady artist to recognize a
What these and other debates obfuscate may be
revolution as it is underway.
historical
turn
ourselves,
should the
be
fact
kind
of
though
tempered that
we’re
historical
such
by
the
always turn.
It
I can think of few whose work defines this turn
images,
canvassed
together
across
walls
in
better than that of Penelope Umbrico.
various assortments (different numbers of prints for different settings and occasions), ironically
Penelope Umbrico is an artist and image-maker
delight
and
dazzle
the
viewer,
an
aesthetic
who is best known for her elaborate installation,
achievement of popping color that is nothing
video, and digital media works. Over the course
short of pure bliss to view. It is a project as fun
of her career, Umbrico has amassed a vast
to look at as it is to write about.
archive of projects tackling technology,
consumer
culture,
appropriation,
Suns
occupies
an
ironic
niche
within
the
and a range of other themes. Some of her
scope of contemporary media production and
best-known
typological
photography. At once critical of, and delighting
appropriation of familiar images and objects
within, the sheer magnitude of this kind of digital
through the mining of sites like Flickr, eBay,
reproduction (the message you receive from
and other consumer-to-consumer (proto-social
the work being largely dependent on your own
media) platforms. Even before Instagram began
opinions) Suns From Sunsets becomes, through
to profoundly alter the course of photographic
the sheer magnitude of millions of repeated
history,
often
image permutations, an object about aesthetics
mind-blowing
and an aesthetic object in itself. Gazing at Suns,
projects
feature
Umbrico’s
displayed
as
the
image
elaborate
archives, and
installations, presaged projects like
one naturally contemplates the internet, with its
@insta_repeat and @domino_sugar_factory.
endless stream of information and propaganda, before feeling compelled to whip out the ol’ of
iPhone to snag an image of the spectacle for
Umbrico’s oeuvre you’re probably most familiar
oneself. Bonus points if the picture features you
If
you
with Flickr
only
her
have
project
a
cursory
Suns
(2006-ongoing),
from
which,
knowledge Sunsets in
its
from
standing in front of the display.
various though
To this end Suns from Sunsets from Flickr is as
delightfully colorful typologies of the project’s
delightful as it is overwhelming. As beautiful
namesake. Having taken to Flickr to discover
and unique as it is repetitive and derivative. To
“the most photographed subject”, she found,
be sure, it is not Umbrico who is the derivative
perhaps not surprisingly, that the tag “sunsets”
maker here, and perhaps not even any of the
far outpaced others. It is fitting, I think, that the
hundreds of thousands (perhaps millions?) of
celestial body most responsible for photography
image-makers whose individual shots of Sol
is
populate Umbrico’s walls.
permutations,
also
its
features
most
repetitive,
popular
singular
subject.
30,240,577 images later and it’s easy to see the
If anything is derivative here, it may in fact be
sheer scope of not only Umbrico’s obsession,
photography itself.
but of our collective (algorithmically calibrated) One topic of conversation that arises naturally
consumer consciousness.
when discussing her work is the question of Collaged together as a grid of small postcard-
appropriation, the ethics of which may be the
sized
her
one thing more hotly debated among freshman
collection is the true subject of this work. The
photographers than whether or not you wanna
prints,
the
sheer
magnitude
of
shoot in color or black and white. When it
Photo more playfully utilizes a diverse range of
comes
archival)
different print sizes (the result of varying file
images I’ve heard it both ways: “You’re not a
sizes available on Flickr) to create a constellation
real photographer unless you take photos” and
that is as cosmic as it is ephemeral. The
“who cares? Art is art.” For myself, I vacillate
technical
between both camps but it doesn’t really matter
front and center, made all the more odd by the
what I think. At the end of the day, photography
frank challenge of their original creation. Any
is a beast all its own. Here I am less interested
photographer can tell you that it’s usually easier
in prescribing its behavior than in describing its
to photograph the sunset than it is to photograph
tendencies.
the moon. The challenge of lunar observation
I suspect the same may be true for Umbrico.
showcased here is then undermined by the
to
appropriated
(or
even
proficiency
of
each
image
comes
number of images. How astounding it is that so The question of appropriation is again underlined
many have risen to the challenge, only to arrive
by another project by Penelope Umbrico. This
with an object of both authentic beauty and
time,
repetitive obscurity.
in
a
moment
of
effective
image-text
titling, Everyone’s Photo Any License plays the image
Unlike Suns, however, Everyone’s Photo comes
typologies off of the drab world of copyright
with an interesting caveat. In the game of
and image-use. Returning to Flickr as her open-
appropriation, it is perhaps more fair to the
pit mine of choice, Everyone’s Photo explores
young
the
who
aesthetic
digital
of
repetitive
photographic
but
gorgeous
reproduction
of
the
hypothetical worries
that
it
photography is
not
right
student to
“steal”
sun’s antithesis, another popular subject for
others’ photos. Here Umbrico embarks on the
photographers, the Moon.
painstaking
process
of
obtaining
permission
for the use of each image from each of their Whereas Suns dazzles with repetition, Everyone’s
individual
creators,
careful
to
use
images
otherwise protected under the familiar copyright
canon of photographic discourse,
tag “all rights reserved.” Where she could not
platforms like Flickr and Tumblr were already
obtain permission, images were substituted for
profoundly
those under a creative commons license. The
production and dissemination. These communal
accompanying attribution list is as significant a
marketplaces
project as the salon-style show. The result, like
photographic inflection, as vast galleries were
the moon to the sun itself, is an odd reflection of
compiled
Suns from Sunsets from Flickr.
‘communities’.
Here I am left thinking, not about the ubiquity of
Penelope Umbrico was among the first to begin
the digitally reproduced image so much as I find
mining
myself considering the oddity of image copyright
understand, critique, and celebrate them (again,
and our cultural proclivity for insisting upon
the message you receive will depend upon your
ownership, even within the context of a post-
own interpretation). Her visionary relationship
scarcity digital world. Thinking about NFTs and
to the photographic object helps us to better
other blockchain technologies seeking to secure
understand the world we are living within now.
the ownership of digital objects, I can’t help but
A world of reflections and shadows perhaps?
imagine a world desperate to put the genie back
A world of infinite and profoundly democratic
in the bottle. It may be, and indeed likely is, the
possibilities? It’s hard to say.
case that the ship has already sailed here, and
I myself am a little cynical.
shaping
via
these
the
emerged the
flow
as
of
charged
algorithmic
cyber-spaces
in
image sites
emulation
an
effort
of of
to
that debates around these new technologies, like those old debates around the use of color, are
And yet we know that photography and art
themselves foregone conclusions.
have always had a close relationship to these
But then, who knows?
questions. From Ar t in the Age of Mechanical Reproduction to Camera Lucida, On Photography
We live in a sea of images, and it’s no longer very
to The Lives of Images, the chief concerns of
interesting to say so. To state the obvious fact,
photographic theorists might best be summed
that photographic depictions of the world are
up as “what happens to the world when it can so
quickly outpacing the reproduction of that world,
easily be photographically reproduced?” Other
is to come dangerously close to being entirely
questions that follow from this might be “what
derivative. And yet I find myself living every day
does it mean to own an image, an idea, or a
completely awash in digital images, overwhelmed
digital token?” and “What responsibility does the
as I am by it all. How did I grow up in this world
photographer have to their subject?”
of images, and yet, find myself so unprepared for this feeling? How does one process the
I get the sense that these are questions which
sheer volume of icons created daily for our
Penelope Umbrico has long wrestled with. It
entertainment, worship, and consumption?
is this wrestling that lays at the core of her practice,
though
we
are
fortunate
that
this
It’s been said before but we can say it again.
practice has also yielded such spectacularly
Never in the history of the human race have we
colorful byproducts.
had to contend with so many images. Before Instagram rose to its preeminent place within the
Kelsey Sucena / www.kelseysucena.net
To see more of Penelope’s NFT’s please visit Assembly Curated nft.assembly.
Penelope Um br ico, Ra nge: Of Swiss For t Knox Subter r a nean Da ta Center (gener a tive ca m er a a pp f ilter screen m ounta in) #28, 2021, NFT Cour tesy of the a r tist a nd Assem bly Cur a ted
Pe ne lope U m br ico, Sc reen s h o t 2 0 1 5 -1 1 -0 7 1 8 .3 4 .1 1 / P i nk F i l te r, 2 0 1 5 A rc hival pigm ent pr int, 4 0 ” x 4 0 ”
Pe ne lope U m br ico, Sc reen s h o t 2 0 1 5 -1 1 -2 4 1 8 .1 4 .3 2 / B l ue F i l te r, 2 0 1 5 A rc hival pigm ent pr int, 4 0 ” x 4 0 ”
Pe ne lope U m br ico, Ever yo n e’s Ph o t o s A n y L i cen s e (6 5 4 of 1 ,1 4 6 ,0 3 4 Full Mo ons on Flickr, Novem b er 2 0 1 5 ), 2 0 1 5
Pe ne lope U m br ico, Ever yo n e’s Ph o t o s A n y L i cen s e (6 5 4 of 1 ,1 4 6 ,0 3 4 Full Mo ons on Flickr, Novem b er 2 0 1 5 ) At t ri b u t i o n M a p , 2 0 1 5
Pe ne lope U m br ico, Ever yo n e’s Ph o t o s A n y L i cen s e (6 5 4 of 1 ,1 4 6 ,0 3 4 Ful l M oons on Flic kr, Novem ber 20 1 5 ) At t ri b u t i o n L i st , 2 0 1 5
Pe ne lope U m br ico, 5,3 7 7 , 1 8 3 Su n s fro m Su n s et s from F l i c k r (Pa r ti a l ) 4 / 2 8 / 0 9 , 2 0 0 9 1, 440 chrom ogenic m a ch i n e p ri n t s, ea ch 4 x 6 i n , C our te s y of the a r ti s t an d SF M O M A
Photographic Work s
| I have h ar ve st e d t h e p o w e r o f t h e sun fo r my mo s t re c e n t se r ie s o f se lf - p o r t r ait lu m e n p r in t s , P lay in g in th e D a r k. T h is w o r k c o m m e n t s o n t h e n at u re o f p h o to g rap h y a s a sc ie n t if ic p ro c e ss an d t h e ro le p h o to g rap h y h as pl ayed in re in f o rc in g A m e r ic a’s r ac ial c aste s y s tem. Mo re i m por t an t ly t h e se r ie s ask s t h e vie w e r t o lo o k d eep er, by pur po se ly d e e m p h asizin g m y b o d y w it h vario u s levels o f da r k t o n e s an d c o lo r s. M y b o d y is n o t eas ily co n s u med i n this w o r k . I u se d t h e lu m e n p r in t in g pro ces s , b ecau s e the w ay im ag e s are re n d e re d o n t h e su r f a ce o f th e p rin ts c re a t e s a sh ro u d t h at f o rc e s t h e vie w e r to in ves tig ate at c l os e r an g e . T h e se r ie s c o n sist s o f silver g elatin p rin ts tha t h ave b e e n sp lit t o n e d w it h se le n iu m .
www.raymondt homps onj r.com
I
wa s
in sp ire d
by
A f r ic an
A m e r ic a n
p h o to g rap h er
R oy De Car ava’s p r in t in g t e c h n iq u e , w hich fo cu s ed o n unde re xp o su re , so f t p ap e r s an d an in c red ib le ran g e o f da r k an d g r ay t o n e s. De Car ava w as aw ard ed a G u g g en h eim Fe l l ow sh ip t o c o m p le t e h is b o o k . “ T h e Sweet Fly p ap er of Li fe .” In t h is w o r k h e f o c u se s o n ever yd ay b lack life i n Ha r le m . H e p u r p o se ly avo id e d t h e im ag er y th at was ty pi c a lly p u b lish e d o f b lac k s t h at f o c u se d o n th e ex tremes . In Tej u Co le’s e ssay, “A Tr u e P ic t u re o f B lack Skin , ” publ i s h e d in t h e b o o k B lac k Fu t u re s, h e arg u es th at D e C a r ava’s d ar k ro o m p r in t in g p ale t t e revers es th e p o wer s tr uc t u re s asso c iat e d w it h t h e w h it e g aze in p h o to g rap h y. “T he vie w e r ’s eye m ig h t at f ir st p ro t e st, s eekin g mo re c onve n t io n al c o n t r ast s, w an t in g m o re o bv io u s lig h tin g . B ut,
g r ad u ally,
t h e re
comes
an
ac c ep tan ce
of
th e
photo g r ap h an d it s su b t le im p lic at io n s: t h at th ere’s mo re the re t h an w e m ig h t t h in k at f ir st p lace, b u t als o th at whe n w e are lo o k in g at o t h e r s, w e m ig h t co me to th e unde rst an d in g t h at t h ey d o n’ t h ave t o g ive th ems elves up to u s. T h ey are allo w e d t o st ay in t h e s h ad o ws if th ey wi s h, ” C o le w r it e s. C ol e c o n n e c t s De Car ava’s w o r k t o p h ilo s o p h er Ed o u ard G l i s s an t ’s t h in k in g t h at su r ro u n d s t h e wo rd “o p acity. ” In hi s w r it in g , h e c laim e d a sp ac e f o r t h e r ig h ts o f min o rities not to b e d e f in e d by o t h e r s’ d e f in it io n s and th e rig h t to b e m i s un d e r st o o d if t h ey w an t e d . “ Glissan t s o u g h t to d efen d the o p ac it y, o b sc u r it y, an d in sc r u t ab ility o f C arib b ean B l a c k s an d o t h e r m arg in alize d p e o p le s. E xtern al p res s u res i ns i s t e d o n eve r yt h in g b e in g illu m in at e d , s imp lified , an d e x pl a in e d . Glissan t ’s re sp o n se : No .”
| Unti tle d C o lo r s is b ase d aro u n d 1 0 la rg e s in g le-co lo r photo g r ap h ic w o r k s. T h o u san d s o f p e r s o n al s n ap s h o ts we re c o lle c t e d f ro m f r ie n d s, f am ily, an d an on y mo u s in tern et ve ndo r s, b e f o re b e in g d e c o n st r u c t e d an d co mb in ed in to l a rge f ie ld s o f c o lo r. Ea c h w o r k b r in g s t o g e t h e r d ive r se im ag er y fro m over a c e ntu r y w h ile u sin g c o lo r as t h e u n if yin g p rin cip le. Wh ile be i ng in h e re n t ly p h o t o g r ap h ic , t h ey also act like ab s tract pa i ntin g s w it h sh ar p d e t ails t h at ro o t t h e m in th e wo rld o f re pre se n t at io n , t yin g t h e m t o a sp e c if ic t im e an d p lace. A r r a n g e d w it h in a st r u c t u r al g r id , t h ey are in flu en ced by b o th M e s o p o t am ian m o saic s an d t h e d ig it al p i xel. Th e p h y s ical a c t o f c o llag in g t h e p h o t o g r ap h ic m at erial b eco mes a m e di t at io n o n t h e in t e rc o n n e c t e d n e ss o f memo r y an d th e c ol l e c t ive d e sire t o d o c u m e n t an d sh are e xp erien ces .
www.j oe rudko.c om
|
Sta nd ard Size is b o t h a c r it iq u e an d a celeb ratio n o f photo g r ap h y. Dist r ac t e d by t h e t yp ic al e xa mp le p h o to s an d hy pe r b r an d in g d e sig n o n p ac k ag e s o f p h o to p ap er in th e s tudi o , I w as m ove d t o p u rg e t h is in f o r m atio n fro m v iew. I phy s ic ally re m ove d t h e st o c k p h o t o s an d covered u p tex t wi th c o lo re d m ak in g t ap e . T he re su lt is a c o lle c t io n o f ab st r ac t c omp o s itio n s th at que s t io n s t r ad it io n al p h o t o g r ap h ic c o n ven tio n s an d p rin t s i ze s as it re c o n sid e r s t h e c re at ive o p p or tu n ities h eld in the m at e r ials t h e m se lve s. T h e se p h o t o g r ap h s p lay with th e l i ne b e t w e e n ab st r ac t io n an d re p re se n t at io n by p res en tin g e a c h p ac k ag e st r aig h t o n an d w it h o u t co n tex t, b u t by pre c i s e ly m at c h in g t h e o r ig in al c o lo r s an d actu al s ize.
www.a ndyma t t e rn.c om
w
A b s tra c t P hotog ra p hs | T h ro u g h o u t m y c are e r I h ave b een e x pl or i ng the in t e r se c t io n b e t w e e n ar t an d t e c h n o lo g y mo s t f re que ntl y d e alin g w it h issu e s su r ro u n d in g p h o to g rap h ic re pre s e nta tio n . M y w o r k s o f t e n reve al t h e c o n ven tio n s o f pe rc e pti on an d re p re se n t at io n t h ro u g h t e n sio ns created by the us e o f c o m p u t e r s an d t r ad it io n al p h oto g rap h ic te c hni que s . T he photogr ap h s in c lu d e d h e re are o f m ir ro r s, p ap er an d ta pe of te n ad h e re d t o t h e su r f ac e o f t h e m ir ro r t aken with a l a rge f or m a t c am e r a as t h ey at t e m p t t o u n p ac k t h e s tru ctu ral m e c ha ni c s o f p h o t o g r ap h ic re p re se n t at io n . W hi l e the i m ag e s allu d e t o f o r m al ab st r ac t io n w ith vario u s s ha pe s a nd c o lo r s, t h e p h o t o g r ap h ic n at u re o f t h e imag es a re e m pha s ize d as t h e im ag e p lan e is se le c t ively fo cu s ed a nd bl ur re d t h ro u g h t h e u se o f d e p t h o f f ie ld . T h e u s u ally re fe re nc e l e s sn e ss n at u re o f ab st r ac t io n is c o n t r ad icted by the pre s e nc e o f m in u t e d e t ails c ap t u re d by t h e u se o f a larg e f or m a t c a m er a su c h as d u st an d sc r at c h m ar k s fo u n d o n the s ur f ac e o f t h e m ir ro r o r t h e t e xt u re o f t h e tap es u s ed whi c h m a ke s t h e im ag e s p h o t o g r ap h ic ally re al a n d almo s t s c ul ptur a l . T h e se im ag e s h ave a d u alit y (an d t en s io n ) o f be i ng s i m ul t an e o u sly ab st r ac t an d p h o t o g r ap h ic a lly real. Fur the r, a s w it h m an y o f m y o t h e r w o r k s t h e p ho to g rap h s e x pre s s e s m y in t e re st in t h e e f fe c t o f d ig it al t e c h n o lo g y in photogr a phy an d it s ae st h e t ic . Fo r e xam p le t h e ch o ice o f re d, gre e n, an d b lu e t ap e is b ase d o n t h e t h re e p r im ar y co lo rs tha t c ons ti tu t e a p ixe l. Fro m a f ar t h e t ap e s c an be s een as the pi xe l s gl o w in g o n t h e c o m p u t e r sc re e n . W h ile t h e imag es a re m a de usin g p r im ar ily t r ad it io n al p h o t o g r ap h ic meth o d s , they re fe re nc e t h e n e w ae st h e t ic t h at se e m s t o b e emerg in g a s a re s ul t o f t h e u se o f d ig it al t o o ls an d t e c h n o log ies . Seen i n thi s c ontext , by alw ays in c lu d in g o n ly t h e silh o u ette o f the photogr ap h e r w it h h is c am e r a, t h e im ag e s remin d th e v i e we r s of t h e p re se n c e / ab se n c e o f t h e p ro d u cer/ au th o r a nd the m e th o d in w h ic h t h e im ag e s w e re c o n st ru cted an d br i ng f or th t h e c o m p le x issu e s re g ard in g au t h o r s h ip in th e di gi ta l wor l d . We bs i te : pe o p le .re e d .e d u / ~m iyo s/
B or n in Jap an , A k ih ik o Miyo sh i re c e ive d a M FA in p h o to g rap h y i n 2 0 0 5 f ro m t h e R o c h e st e r In st it u t e o f Tech n o lo g y after ta ki ng a le ave o f ab se n c e as a P h D st u den t in co mp u ter e ngi ne e r in g at C ar n e g ie M e llo n U n ive r sit y to p u rs u e ar t. M i yos h i is a P ro fe sso r o f A r t at R e e d Co lleg e. His wo rks e x pl o re s t h e in t e r se c t io n b e t w e e n ar t an d tech n o lo g y mo s t f re que n t ly d e alin g w it h issu e s su r ro u n d i n g p h o to g rap h ic re pre s e n t at io n . H is w o r k h as b e e n e xh ib it e d wid ely in clu d in g Por tl a n d , N e w Yo r k , L o s A n g e le s, R o c h e st er, P itts b u rg h , an d Toron t o . He wa s n am e d t h e In t e r n at io n al Aw ard W in n er o f Fello ws h ip 1 2 a t T h e Silve r Eye Ce n t e r f o r P h o t o g r aph y in P itts b u rg h PA a n d t h e f in alist f o r t h e B e t t y B o w e n Aw ard in 2012 an d A pe r tu re Po r t f o lio P r ize in 2 0 1 3 . Miyo sh i received a Hallie Ford Fe llo w sh ip in 2 0 1 2 .
Photo: Bree Lamb | www.breelamb.com
| I a m a se lf - t au g h t p h o t o g r ap h e r b o r n in S witzerlan d . After gr a du at io n , I o b t ain e d a m ast e r ’s d e g re e in d irectin g at EIC A R , b u t lat e r I b e g an t o g e t in t e re st ed in my p as s io n f or ph o t o g r ap h y, h o n in g m y sk ills in b o t h th e d ig ital an d a na l o g u e f ie ld s. I h ave e xh ib it e d in It aly, Fran ce an d the U n it e d St at e s an d so m e o f m y w o rks are cu rren tly e x hi b it e d in var io u s lo c at io n s. I a pp ro ac h e d p h o t o g r ap h y by c h an c e , I wan ted to g ive “l i fe” t o t h e t h in g s I w ro t e , in t h e e n d I p referred it to wr i ti n g . M y w o r k is lin ke d t o a c re at io n o f amb ig u o u s an d c i ne m at ic im ag e s t h at b o rd e r o n t h e re al a n d th e fan tas tic. I tr y t o g ive an ap p ro ac h t h at p rovo ke s t h e co n temp latio n a nd
re c o n f ig u r at io n
of
c lic h é s
t h ro u g h
th e
p lay fu l
reve l at io n o f t h e b izar re an d t h e m yst erio u s , tr y in g to c re a t e a c o m p e llin g an d in t im at e u n ive r se, in h ab ited by a m ul tit u d e o f d if fe re n t c h ar ac t e r s, b u t p ar a d ox ically alway s the s a m e , w h o e xp lo re e n ig m at ic t h e m e s.
c ris t ina rizzigue lf i.t umblr.c om
| T he o rd in ar y m o r n in g in lo c kd o w n s. I st ar ted my d ay by hav i n g t h e u su al b re ak f ast : f r ie d e g g s, baco n , a p iece o f bre a d w it h so m e j am o n , an d t h e e sse n t ial, co ffee. I wo u ld nor mally h ave b re ak f ast w it h m y f am ily, b u t I was alo n e th at day. T hus , I w as e at in g in sile n c e , an d t h e c o f fee cu p , p late, an d ute nsils g o t m y at t e n t io n an d n o t ic e d so m e d etails . B ecau s e I us e d t h e m eve r y d ay, t h ey w e re c h ip p e d an d s cratch ed . T he n I st ar t e d se e in g h o w o r ig in al an d u niq u e th e o b j ects a re . I re f le c t o n m yse lf an d h o w I g o t t o o u s ed to th em be c a u se t h ey w e re alw ays t h e re f o r m e . Do n’ t we fo rg et to a c kno w le d g e t h e in d ivid u alit y o f t h e p e o p le wh o h ave alway s be e n h e re f o r u s like t h e c o f fe e c u p n e xt t o me?
www.j ooe unba e .c om
Fa m i l y, sig n if ic an t o t h e r s, f r ie n d s, c o lle ag u es , an d mo re, re ga rd le ss o f t h e n u m b e r o f p e o p le , w e all li ve lives in vo lv in g re l a ti o n sh ip s w it h o t h e r s. I w an t yo u t o t h in k o f p eo p le th at have b e e n an d w ill alw ays b e t h e re f o r yo u . G reat memo ries m ay c ro ss yo u r m in d , b u t are n’ t w e st ill takin g th em fo r gr a nt e d b e c au se w e d o n’ t ac k n o w le d g e t h eir in d iv id u ality ? If we t r y t o re c o g n ize t h e u n iq u e n e ss o n ly th ey h ave, we will be ab le t o se e h o w sp e c ial eve r y in d ivid u al is an d ap p reciate eve r y m o m e n t w e sh are w it h t h e m . For ‘ Mo n o - , ’ I c h o o se 3 0 eve r yd ay o b j ects , I u s e, as a m e ta p h o r o f 3 0 p e o p le t h at I o f t e n u n d e r valu e th e wo r th o f thos e c lo se t o m e m e re ly b e c au se I h ave g o tten co mfo r tab le wi th h avin g t h e m aro u n d . E ac h o b j e c t rep res en ts each pe r s o n . I w r it e sim p le se n t e n c e s o n eve r y p iece to d es crib e who I am t alk in g ab o u t . I p h o t o g r ap h e ac h item, th en I p rin t the ph o t o s t o h an d c r af t c o llag e s. T he s e r ie s reve als e ac h o b j e c t ’s in d ivid u ality an d u n iq u en es s throu g h h an d m ad e c o llag e s, u n like t h e u su al p h o to g rap h s tha t c an b e re p ro d u c e d . Fr am e s o f t h e wo rks are h an d pa i nte d alo n g w it h t h e h an d w r it t e n d e sc r ip tio n s n ex t to th e pre s er ve d c o llag e s t o e m p h asize e ac h p e r son’s in d iv id u ality. Si m i l a r t o m ak in g o n e - o f f c o llag e w o r k s , I h o p e we can a c kno w le d g e an d p e rc e ive t h e u n iq u e n e ss o f th e p eo p le a roun d u s.
| Es c a pe s exp lo re s t h e d e sire t o re t re at in t o re p res en tatio n s o f n atu re a nd our a t t e m p t s t o f ait h f u lly re p ro d u c e an d rememb er co lo r — in pa r ti c ul a r, o f air an d w at e r, t w o e p h e m e r al e le men ts . W i th the s e a as a b ac kd ro p , t h e p h o t o g r ap h s in th is s eries cen ter a round a n alo g sn ap sh o t s f ro m f am ily vac at io n s. Th es e tactile imag es a re c a s t as o b j e c t s o f n o st alg ia f lo at in g in c h ro matic p o o ls s amp led v i a the eye d ro p p e r t o o l. Ou r ab ilit y t o re c all c olo r is co mp licated by the c hrom o g e n ic p r in t ’s in st ab ilit y as h u e s sh ift over time. P r i nte d ph o t o g r ap h s live w it h u s an d are e q u al ly s u s cep tib le to th eir e nv i ronm e n t s. Do e s o u r m e m o r y c h an g e alo n g with th e o b j ect? Do es the obje c t b e c o m e o u r m e m o r y?
www.nic kma rs hallphot o.c o m
Photo: Bootsy Holler | www.bootsyholler.com
|
C r ui s e N ig h t is a c o lle c t io n o f u n st ag e d p h o to g rap h s an d re c orde d o r al h ist o r y t h at I m ad e w it h th e Lo s An g eles M e x i c an A m e r ic an lo w r id e r c o m m u n it y t h ro u g h o u t So u th ern C a l i f or n ia an d Nevad a f ro m 2 0 1 4 t o 2 019. My p ath to l owr i din g o r ig in at e s f ro m m y in t e re st in th e layered an d nua nc e d
w ays
t h at
c u st o m izin g
a
c ar
reflects
d ecad es
of pol it ic al, c u lt u r al an d c re at ive se lf - ex p res s io n in th is c om m u n it y. Ove r t h e f ive ye ar s o f m ak in g t h es e p h o to g rap h s the l ow r id e r f am ily sh are d t h e so p h ist ic at io n an d co mp lex ity of the i r t r ad it io n w it h m e . Si nc e it s b e g in n in g s in t h e 1 9 4 0 s, t h e lo wrid er trad itio n prov i de d a p lat f o r m f o r Me xic an A m e r ic ans to h ave a vo ice a nd be se e n . To d ay t h e re are t e n s o f t h o u s an d s o f lo wrid ers i n Los A n g e le s.
www.kris t inbe df ord.c om
The
m ove m e nt
main ta i ns
an
is
p ro lif ic ,
element
of
ye t
it
in visib ilit y
in gre a te r s oc i e ty. Lo w r id in g is o f t e n pigeo nhol e d a s s i m pl i st ic f o lk ar t an d ste reoty pe d
by
the
m e d ia
as
crude
and d a nge rous . I have se e n a d if fe re n t re alit y
–
a
tradit i on
re f i ne d
of
an d
b e au t if u l
s e l f -e x pre ssio n
t h at
is
passe d down be twe e n g e n e r at io n s. It i s not c om m on tha t a w o m an c re at e s a
bo dy
of
wor k
aro u n d
lo w r id in g .
Since the i nc e pti on of t h e au t o m o b ile , car
c ul ture
domi na te d
of by
all the
k in d s m ale
h as
been
p e r sp e c t ive .
Maki ng pi c ture s a s a w o m an in a sp ac e tradit i ona l l y de f i ne d by m e n , an d o f a prac ti c e tr a di ti ona l l y u se d t o re p re se n t mascul i ni ty, pl a c e s m y w o r k in t e n sio n w i th
the
preva i l i ng
d e p ic t io n s
of
low ri di ng. Wi th C r ui s e N i ght, I am o f fe r in g an invi tati on
to
assum pti ons
que s ti on a nd
all
of
s t e re o t yp e s,
t h e se an d
re thin k the v i s ua l nar r at ive aro u n d t h is often -ove r l ooke d
A m er ic an
ar t
form.
I am e te r na l l y gr a te f ul t o t h e lo w r id e r comm uni ty f or e m br a c in g m e an d m y hope i s tha t the s e i m ag e s b e g in t o touc h on the s ubtl e ty an d d e p t h t h at I expe r i e nc e d. low ri de r: a c us tom i ze d c ar m o d if ie d t o al l ow the ve hi c l e to r i d e c lo se t o t h e ground; the dr i ve r of the c ar.
First, tell us a little about your journey with
fast, lowriding is about decorating a car and
ar t and photography – how did it all star t for
going slow to be seen on the boulevard.
you? A lowrider will often purchase an old car in W h e n I w a s f i v e y e a r s o l d m y f a t h e r, w h o w a s a
p o o r c o n d i t i o n . To a n y o n e e l s e i t m i g h t l o o k
bohemian filmmaker and activist, gave me my
unrepairable. For a lowrider it is a tabula rasa,
first camera. I began taking photos at that point.
a blank slate, with which they can realize their
I never had any formal training in photography
dream. Every lowrider car is different and is an
but was exposed to incredible art and curation
expression of the owner’s personal vision. The
at a very early age.
cars are works of art, with each one representing an individual voice.
My
father
was
poor
and
the
Smithsonian
museums were free, so he would take me each
What draw you to this subject? What made you
weekend to see incredible art. We would spend
star t this project and how did it evolve as the
hours looking and this is what helped shape
years went on?
me. I was particularly struck by the stillness and quietude in James Whistler’s watercolors,
Underlying all of my projects is an interest in
a n d t h e p a i n t i n g s b y A b b o t t T h a y e r, T h o m a s
social justice and how communities express
D e w i n g a n d E d w a r d H o p p e r. I o n l y b e g a n m a k i n g
their
photographs in color in 2012, and I think back
marginalizes them. My path to lowriding came
t o h o w p a i n t i n g s b y E l l s w o r t h K e l l y, M o r r i s
from an interest in how the customization
Louis and Yves Klein were a large part of my
o f a c a r i s a b o u t h a v i n g a v o i c e – p o l i t i c a l l y,
formative years. Such filmmakers as Federico
c u l t u r a l l y a n d c r e a t i v e l y.
civil
rights
in
a
society
that
often
F e l l i n i , Te r r e n c e M a l i c k a n d F r i t z L a n g a l s o influenced me in my youth.
While lowriding is a worldwide phenomenon, for Mexican Americans in Los Angeles, it has a
Yo u r n e w p u b l i c a t i o n C r u i s e N i g h t d o c u m e n t s
unique significance. For over seventy years, this
“Los
lowrider
community has been expressing their identity
California
through this distinct car culture. I wanted to
and Nevada from 2014 to 2019” as you mention
photograph and understand how transforming
in your artist statement. For readers that are
a car was integral to being seen and heard.
Angeles
community
Mexican
throughout
American Southern
perhaps less familiar or are not from the region o r c o u n t r y, c o u l d y o u t e l l u s a b o u t t h e l o w r i d e r community? It is important to know that the term ‘lowrider’ has two meanings. It is both a customized car modified to allow the vehicle to ride close to t h e g r o u n d , a n d t h e d r i v e r o f t h e c a r. The common description of lowriding is ‘bajito y suavecito’ which translates from the Spanish to ‘low and slow’. Unlike the hot rod movement, where the goal is to strip down a car and go
As you have been documenting this community
has been entirely shaped by men. The male-
for several years, have you seen a change as
dominated imagery usually portrays women as
years progressed?
sexual accessories who pose in bathing suits or l i n g e r i e a l o n g s i d e a c a r. I f e e l i t t o o k a w o m a n
The
lowriding
community
is
prolific
and
only expanding. There are presently tens of
photographer to break through this mold and o f f e r a n e w s t o r y.
thousands of lowriders in Los Angeles County alone. This does not take into consideration
How involved are you, or were you, in the
the large numbers in the rest of California
community? It seems from the photos that you
and the Southwest. Everyday new people are
had an intimate connection to these peoples
customizing cars and starting their own car
and that you were very much a part of the
clubs.
scene and not only a fly on the wall. It really feels that they seem comfor table around you
It does seem that you have put an emphasis
and
on the women in this community and you also
access
do mention that it is not as common for a
great moments with
woman to photograph the scene – can you tell
them.
that
you to
had
really
us about your experience and how people did in fact react to your presence there? How was
Since
your interaction with these women and did you
Cruise
feel that you had an impact on their lives in
remain
involved
some way?
with
Mexican
completing Night, the
I
American lowriding While my interest in communal self-expression
community
is what brought me to lowriding, once I began
Angeles. I regularly
making photographs of the movement, I had
attend cruise nights
no agenda. My process is to completely turn
and spend time with
myself over to the unknown. I am grounded in
friends I have made
mystery and I let the photos reveal what the
in
story is about. Over time, I noticed that many of
f a m i l y.
the
in
Los
lowriding
the images featured women. It was completely organic that women are so prominent in Cruise
How was the process of making this book? Can
Night.
you talk about your editing and sequencing decisions that probably were hard after 5 years
For my entire career I have considered myself a
of photographing.
“photographer”. During this project I realized for the first time that I was a “woman photographer”.
W h i l e I m a k e t h e p h o t o g r a p h s i n c o m m u n i t y,
When I saw the reverent, quiet and natural
the rest of my process happens in isolation. I
photos of women lowriders I made, I discerned
return to my art studio and quietly review the
that it was a woman connecting with other
images. I am only interested in photographs
women who made them. I also reflected on why
that move me, and my selection process is
I had not seen images like this before and it
entirely intuitive. Once I come across an image
became clear to me that the visual narrative of
that speaks to me, I print it and place it on one
lowriding, and automotive cultures of all types,
of the long tables in my studio.
p a i n t j o b s a n d t h e i n t e r n a l u p h o l s t e r y. Over time the tables slowly fill up with these photographs. I don’t show the work to others,
In the making of Cruise Night I was curious
as the process is deeply personal. I patiently
to see what these elements looked like at the
w a t c h t o s e e h o w t h e p h o t o s t a l k t o e a c h o t h e r,
microscopic level, to explore the building blocks
and for years I cannot know what the end story
of the colors and textures. When the small is
will be. The entire photo selection, editing and
made big I experience the car at a deeper level
sequencing process happens alone.
a n d i t s b e a u t y i s e v e n c l e a r e r. T h e c o m p o s i t i o n s a r e s h a p e d b y l o o k i n g c l o s e l y,
If there was one story you wanted to share for
and in turn shaped by the unique colorway
a specific image – which would it be and why?
r e a l i z e d o n e a c h l o w r i d e r c a r.
In the photo titled No Soy de Ti / I Don’t Belong
Do you have any advice for artists and young
t o Yo u , y o u s e e M a r y i n t h e b a c k s e a t o f h e r 1 9 5 2
photographers
reading
this
that
might
be
Chevy with the
interested in starting a documentary style
wind blowing in
project such as yours? What are some impor tant
her hair and she
things they should know or remember?
moves
to
keep
it off her face.
The most important thing when starting any
When
look
documentary project is to question who you
image,
are, what are your values, how do you want to
she appears to
be treated in the world, and how do you want
me as a divine,
to treat others. In this day and age with the
heavenly figure.
availability
There is a sense
anyone can take a picture, but to tell a story
of
being
part
and to do it with integrity that is special.
of
an
inner
at
I
this
of
digital
and
phone
cameras,
and
F i n a l l y, I ’d b e i n t e r e s t e d t o h e a r, w h a t w o u l d
transcendence.
be next? Are you working on any other projects
There
you can share with us?
landscape
the
is clear
also and
important
My current project, Heaven on Earth, is about
message of her independence and defining
the most radical utopian society in American
h e r s e l f a s h e r o w n w o m a n – r o m a n t i c a l l y, a s a
h i s t o r y, t h e O n e i d a C o m m u n i t y. F r o m 1 8 4 8 -
l o w r i d e r, a n d i n g r e a t e r s o c i e t y.
1880, the Community strove to embody their
very
vision of a selfless existence in every facet of The project has a really great sense of color
life.
and it seems that throughout the work you play with color and use it as part of your
For three generations, my ancestors were part
composition. Can you tell us a little about this
o f t h i s s o c i a l e x p e r i m e n t i n u p s t a t e N e w Yo r k .
notion in your work?
The project is a personal look at the memory of space, the fabric of ancestry and the female
Highly saturated and vibrant colors are used w h e n c u s t o m i z i n g a l o w r i d e r c a r, b o t h i n t h e
experience of this audacious human experiment.
| T hrou g h a m ixt u re o f p ro c e ss ar t an d m in imalis t ab s tractio n , I que st io n h o w t o d e p ic t p h o t o g r ap h y as a s elf-reflex ive e nti ty, n o t as a c o n d u it t o sp e ak o f t h e o u t s id e wo rld . B ein g f a s c i n at e d by t h e c o m p le x p ro c e sse s u sed to g en erate a photo g r ap h ic w o r k , I st r ip d o w n p h o t o g r aph y to es s en tials : l i ght an d c h e m ic al re ac t io n s. Wo r k in g in a b rig h tly lit da r kro o m , I e xp o se p h o t o g r ap h ic p ap e r to th e s p ace, re nder in g it u se le ss f o r it s in t e n d e d p u r p o s e. T hrou g h var io u s w ays o f ap p lyin g p h o t o g rap h ic ch emicals to the e xp o se d p ap e r, I p u r p o se f u lly t e st t h e ed g es o f wh at ha ppen s w h e n d if fe re n t p ar am e t e r s are in ten tio n ally s et beyond their limits. The finished works are luminescent, vividc ol ore d ab st r ac t c o m p o sit io n s o n g lo ssy, metallic p ap er tha t re se m b le m o d e r n ist ab st r ac t p ain t in g s ; a d elib erate us e o f ae st h e t ic t ro p e s in t e n d e d t o q u e stio n it’s makin g . Ly i ng b e t w e e n c o n f u sio n an d d isc ove r y, a co n vers atio n a bout p h o t o g r ap h y ’s o w n m ak in g an d ab st ractio n b eg in s .
www.j os e phmine k.c om \ @ j os e p hminek
J os e p h M in e k w o r k s in a “ w e ll lit d ar k ro o m” b u t h is in teres ts a re l ess in t h e f o rc e s o f n at u re an d m o re in th e in h eren t, l i te r a l
p h ysic al
p ro p e r t ie s
of
p h o t o g rap h ic
med iu ms .
Ex pos in g h ig h - g lo ss p h o t o re ac t ive p ap e r in ten d ed fo r u s e wi th co lo r f ilm t o in t u it ive an d c o m p le x c o cktails o f p h o to l a b c h e m ic als an d b r ig h t lig h t , Min e k t e as es o u t a fo rm o f a bs trac t io n t h at is c h ro m at ic ally e xu b e r an t an d in fin itely va r i a b le . W i thin a p r ism at ic ar r ay o f c h ar t re u se , f u s ch ia, emerald , i ndi go , ro b in’s e g g , m u st ard se e d , m au ve, laven d er, b lo o d or a ng e , t h e ove r lap p in g p o o ls an d f r ac t al lin earities o f the ch e m ic als in t h e t r ay le ave t h e ir t r ac es n o t o n ly in th e e x pl o sive p ale t t e b u t in t h e in t r ic at e p at t ern s , tran s lu cen t l aye r s, an d o il- slic k p ar ab o las w h ic h t h e liq u id traces an d eve nt u ally se t t le s o n . [Te x t by Vo n L in t e l G alle r y]
When we hear seeing red, we probably think of anger and the common p h r a s e t h a t r e p r e s e n t s s o m e o n e t h a t i s , i n a w a y, l o s i n g c o n t r o l . T h i s collection of images from our call for entry is in fact passionate, emotional, and bold but angry you will not be when looking at it. For this collection of images, I was curious to see how artists from different geographical locations, backgrounds, religions, and cultures might react to this concept of the color red. Red is such a bold color that can represent a handful of feelings or human reactions it can be l o v e f o r o n e a n d h a t e f o r a n o t h e r, i t c a n b e c o m f o r t i n g f o r y o u b u t f e a r f u l f o r s o m e o n e e l s e . Ta k i n g a s e e m i n g l y s i m p l e c o n c e p t o f o n e c o l o r, w e c a n c r e a t e a w o n d e r f u l m i x o f v i s u a l s t h a t a r e u n i q u e i n t h e i r a p p r o a c h a n d t h e i r p o i n t o f v i e w. T h i s s h o w i s a l l a b o u t t h e c o l o r r e d and how these artists see it and what it might mean to them.
S e l e c t e d A r t i s t s : A b b i e “A J ” R o y, A b h i r u k L a h i r i , A k i s P a s a l i d i s , A l i n e S m i t h s o n , A n a t P a r n a s s , An d r e e a An d r e i , A s t r i d S u s a n n a S c h u l z , A u d e Dib, Bärbel Reinhard, Becca Schwartz, Betty Press, Bobby Beasley, Brontë Grimm, Chris Bentley, Chris Nesseth, Dafna Steinberg, Daniel B r a d l e y, D e b a s i s h G h o s h , D e v i n F i t c h w e l l , D i s h a P a t i l , E l i a n a C a r t e r, E l i f K a r a k o c , G e o r g i a K o n t o d i m o u , G r e t c h e n G r a c e , H a b i y b A l i S h u ’A i b , J a c k A r u e , J a h v e n Ta n n e r, J a m e s M a s o n , J a m i e B e r n s t e i n , J e n n i f e r Maiotti, Jerome Clark, Jillian Abir MacMaster, Jonathan David Smyth, Joseph Hor ton, Joshua Sariñana, Judi Iranyi, Judith Hornbogen, Jules H e r b e r t , J u l i e F o w e l l s , K a t a l i n a S i m o n , K a t i e C o f e r, K e l l y B u r g e s s , K e v i n B Jones, Kon Markogiannis, Lara Gilks, Laura Glabman, Lauren Grabelle, Leslie
Sheryll,
Lu c i e
March,
Lynne
Breitfeller,
Maarten
Vromans,
Maria Kazvan, Maryna Shtanko, Masahiro Ishida, Matthew J. Brown, M i c h a e l B a c h , M i c h a e l M a r t i n , M o r g a n M c G r a t h , N i k a S a n d l e r, N o t e s of a Sleepwalker, Ole Marius Joergensen, Rachel Feinstein, Rapheal B e g a y, R o b e r t v o n S t e r n b e r g , S a n d r a K l e i n , S h o s h a n a S p e n c e r , S o n i a Melnikova-Raich, Tilyen Mucik, William Mark Sommer and Yentl Gijbels.
Jam es M as on
Rober t von Sternberg
Disha Pa til
Abh i
Judi th Hornboge n
Al i n e S m i ths on
Jillia n Abir M ac M aster
Kat alin a Simon
R aph eal B egay
Kel l y B u rg es s
O le Mar ius J oergens en
Wi l l i am M ark Sommer
Luci e M arch
J ud i Iranyi
Julie Fowel l s
Jero m e Cl ark Jen n i fer M ai otti
i r u k La hir i
A kis Pasa lid is Aude D ib
Devi n Fi tc hwel l Jonathan Davi d Smy th
Ge org i a Kon todi m ou
Chri s Ne sseth
Joshu a Sari ñan a
Habiyb Ali Shu’Aib El i an a Car ter
Abbi e “AJ” Roy
El i f Karakoc
Chri s B en tl ey
Dafn a Stei n berg
Dan iel B rad ley
Bärbe l Rei nhard
M atthe w J. Brown
Jam i e B ern s tei n
Yen tl Gi jbel s
An dreea And rei
Mar ia Kazvan
Jac k Arue
Lyn n e B rei tfel l e r G ret chen G race
B obby Bea sley
Debasi sh Gh osh
Jul es Herbe r t
Lau ra Gl abm an
Rac hel Fei nstei n
B ecca Schw ar tz
An at Parn as s
Mar y n a Sht an ko
S an dra Kl ei n
Nika Sandl er
Tilyen Mucik
Mo rgan M cG rath
Jos eph Hor to
So n ia Melnik ova-Raich
Kev i n B Jon e s
Leslie Sher yll
No t es o f a Sleep walker
Lau ren Grabel l e
Astri d Susann a Sc hu l z
Kati e Cofer
S h os han a S pen cer
Lara Gi l ks
Ko n Ma rkogia nni s
M aar ten Vroman s
n
M as ahi ro Is h i da M i chael B ach
Ja hven Ta nner
Betty P ress Bron të Gri mm
M i chael M ar ti n
Photo: Ryan Frigillana, A Mist from the Ear th (2019) from the series Visions of Eden | www.r yanfrigillana.com
Chromat ography is a c h e m ic al p ro c e s s o f s e p ar atio n o f a mixt ure int o it s com p o n e n ts . C h ro m ato g r ap h y is to w r ite in color, if you t rans late it f ro m its G re e k w o rd o r ig in , an d t his is what t his iss u e w as all ab o u t – h o w th e s e s e le c te d phot ographers are ab le to w r ite in c o lo r an d tr an s late it int o imager y and vi s u als th at are u n iq u e to th e m . Just
like
a
chem is t
w o r kin g
in
th e
lab
to
an alyze
what makes a mix tu re w h at it is b as e d o n it d if fe re n t component s, so do e s th e p h o to g r ap h e r. L ig h t, c o lo r, dept h of f ield, conc e p t an d all th o s e c o m p o n e n ts th at make t he end imag e w h at it is . Th is is s u e c e le b r ate s ar t ist who don’t jus t u s e c o lo r p h o to g r ap h y as a m e d iu m but use color as p ar t o f th e ir s u b j e c t m atte r. C o lo r is in t he f oref ront of th e im ag e m akin g p ro c e s s , it is n o t t here as a def ault , it is th o u g h t o u t an d c alc u late d , is it t here t o provoke, que s tio n , q u e s tio n o r c o n vey th e ar tis ts concept ual t hinking , e m o tio n s , id e n tity, an d c u r io s ity. Color f or a phot ogr ap h y m ag azin e m ig h t b e , w e ll, c lic h é however we t ried t o m ake a c o m p e llin g is s u e f ille d w ith ar t ist s who see color in a d is tin c tive an d p e r s o n al w ay. We hope t his issue c an m ake yo u th in k ab o u t w h at it means t o see colo r, w h at it c an re p re s e n t an d h o w it can change t he me an in g o f s o m e th in g . We th an k yo u f o r reading t his issue an d m o re im p o r tan tly w e th an k th e ar t ist t hat gave us t h e ir tim e an d tale n t to s h are .