Killing Time - Float Photo Magazine

Editors Dana Stirling Yoav Friedlander Contributing Artists Lynne Cohen Rocio Graham Jordanna Kalman Elisabeth Hogeman Aline Smithson Maureen Drennan Gerasimos Platanas Aaron Blum Naomi Harris Adrian Skenderovic

Contributing Writer Kelsey Sucena Illustration @warholslandfill Special Thank You Andrew Lugg Kristin Bjornerud Peter J. Cohen Yael Eban Cover Artist Lynne Cohen Back Cover Artist Naomi Harris Contact Us floatzine@gmail.com

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;

Untitled (Mirror) 2013 Chromog enic Print 132 x 156 c m

Lynne Cohen www.lynne-cohen.com

Untitled (Astrotur f ) 2007 Chromog enic Print 132 x 156 c m

A LETTER NEVER SENT

/ Te x t b y Yo a v F r i e d l a n d e r

This is the thank you letter I never had a chance to write

to show Lynne my work. James Hyman himself emailed

to one photographer who influenced my work so deeply and

me back letting me know he saw my urgent request and

unlocked hidden rooms in my perception. Our world lost

forwarded my email to Lynne. She didn’t let the fire die and

Lynne Cohen far too early.

responded to my email. I was in total shock and with great anxiety I sent her pictures of my work. Her response to them

I remember the first time I saw Lynne’s work. We were

is still the wind in my sails today.

assigned to pick a photography book from our college library and review the book in front of the class. My friend

When someone you truly admire is at hand, when they

had picked Lynne’s book ‘Occupied Territory’ [1987] and it

respond to selfish youth (me in this case) hopes and dreams

was that truly magical moment when a photography book

carry on living.

opens and it feels as if a whole world opens up to you.

My perception at that moment was altered permanently.

I specially want to thank Lynne for coining the term

Something unlocked in my understanding of my surrounding

“Deceptively Quiet” describing her works. This term so

environment.

It was her images of peculiar interiors with

precisely describes a certain photographic strategy and

such calmness that allowed them to be explored slowly,

character of visual work in a category of their own. It’s the

while the brain’s immediate reaction is ‘what the hell is this

uncanny photographic discovery waiting to explode but

place, and where did she find it?!’. These images I saw were

held back by the composition. Like a silent scream. Most of

an immediate lesson on seeing and showing.

Lynne’s work falls into this category of a reality we humans fabricated with intention and ended up creating something

In

my

third

year

of

undergraduate

studies

I

started

so precisely odd. As she strategically photographed them

volunteering at the Jerusalem Biblical Zoo. I photographed

they are only deceptively quiet, but in the viewers’ mind

for the zoo and in return I had gained full access to the

it unfolds rapidly with many meanings, revelations and

zoo’s restricted areas. I roamed the chambers, clinics, and

question marks.

night cages for hours with my large format camera, and I had Lynne on my mind. I was thinking to myself if that was

I want to thank Lynne for teaching us the variety possible

how she felt while making a photographic discovery. Then

in a typological work. Although it might appear as if the

facing with the challenge of mediating a physical place,

work is of the kind that carries an idea through a typological

often such with restricted access, through a photograph.

consistency her work actually contains a visual universe.

Lynne’s work was the kind you set as the highest standard

It resembles more a study of habitats than a variety of

you aspire to achieve. Even though I didn’t know her

water towers. The pictures are windows into wonderlands.

personally back then I photographed as if not wanting

They share a similar standpoint but uncover an entire new

to disappoint her, making the most of my time in the odd

world to explore each time. If she claimed on her work it

fabricated spaces of the zoo.

was deceptively quiet I will say it is also deceptively similar.

They all do share 3 walls a floor and a ceiling but beyond

Excited and naive student who just wrapped up a what

that the versatility of compositions seem endless in their

seemed like a body of works I reached out for Lynne. I

uniqueness. The subject represents itself from within the

emailed directly James Hyman Gallery in London (who

peculiar reality it exists in.

represented Lynne) with the rude spirit of a novice, and the chutzpah of an Israeli, who had nothing to lose. I asked

Thank you Lynne.

Spa ( White B ed ) 1993 G elatin silver print 111 x 129 c m

Classroom in a Fly ing Sc hool c .1980 20.32 x 25.4 c m G elatin silver print

Untitled (Table and Chair) 2008 Chromog enic Print 100 x 120 c m

Men’s Club 1977/78 G elatin silver print 19.3 x 24.5 c m

Showroom 1980 G elatin silver print 110 x 128.4 c m

Untitled (Peeling Water fall) 2008 Chromog enic Print 130 x 150 c m

Corporate O ffic e c .1976 G elatin Silver Print 19.1 x 24.1 c m

Untitled (Submarines) 2007 Chromog enic Print 130 x 150 c m

Laborator y 1993 Chrom og en ic P r in t 111 x 1 2 9 c m cm

Stair well in a Sc ienc e B uild ing 1982 G elatin silver print 19.0 5 x 24.13 c m

All Steel O ffic e Furniture Supply 1978 G elatin silver print 19.3 x 24.5 c m

Unti tl e d ( La b ora tor y ) 2004 Chrom og en ic P r in t 130 x 1 5 0 c m

Spa 2003 Chro mo geni c Pri nt 101. 6 x 127 cm

Untitled (Havana) 2008 Chromog enic Print 130 x 150 c m

O ffic e and Showroom 1980 19.1 x 24.4 c m G elatin silver print

Untitled ( Wire) 2007 Chromog enic Print, 100 x 120 c m

Untitled (Laborator y ) 2012 Chromog enic Print 132 x 156 c m

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WHEN I THINK | Rocio Graham OF HOME I h ave al way s b e en ve r y c o n n e c t e d to t he la nd . Co ming f ro m a M e x i c an f am i l y t h at g ro ws f o o d a nd flo wers (s o me o f m y u n c l e s g ro w ve g e t ab l e s f o r e x p o r t atio n to the USA a n d C an a d a ) i t i s o n l y n at u ral t h at I f i n d co mfo r t wo rking w it h t h e l a n d i n m y a r t p rac t i c e . It c o n n ects me to ho me a n d d e f i n e s m y i d e n t i t y. In s p i re d by a r tis ts like Mo net, G e o rg i a O ’Ke e f fe , J an D e He e m , an d o t h er D utch s till life m a st e r s ; t h e g a rd e n i s m y m u s e .

My wo r k s t ar t s t h e m o m e n t I p l an t a s e e d a nd co ntinues a s I n u r t u re i t to t h e s t ag es o f m at u r i t y, flo wering, a nd dec ay wh e n i t b e c o m e s s o i l f o r f u t u re p l a nts . I t’s a la bo ur in t e n s i ve p ro c e s s t h a t a l l o ws m e to e x p l o re the la nd s ca pe a s a p h y s i c a l a n d m y s t i c a l s p a c e wh e re time a nd na ture b e c o m e m y c re a t i ve a l l i e s .

w w w.ro c io g rah amstu d io .c om

I u se o rg an i c m a t e r i a l s t h a t are m et h od ica lly pla nned , n u r s e d , an d h ar ve s t e d a c c o rd i n g t h e i r a es thetic qua lities f o r la t e r u s e i n m y c o m p o s i t i o n s ; s i m i l a r to ho w a pa inter u s e s p i g m e n t s to c re a t e wo r k .

Fro m s e ed to h a r ve s t to t h e c re a t i o n o f a s till life, a yea r c a n pas s . Th i s a l l o ws m e to a t t u n e to na ture’s cycles . I h ave f o u n d m a n y p ara l l e l s b e t we e n t h e l and s ca pe a nd my in n er g a rd e n ; an i n n er l a n d s c ap e t h at s h i fts a nd ebbs with t h e se a s o n s .

As a t rau m a s u r v i vo r I k n o w t h at b o u t s o f PTSD d is co nnect m e f ro m m y b o d y, re s u l t i n g i n m e l o o king fo r way s to rec o nn e c t wi t h i t .

Fo r m e , l an d ar t a n d i t s l a b o u r i n t en s i ve a s pects a llo w me to gro u n d m y b o d y an d ac c e s s t h e l an d s c ape in a my s tica l w ay. Wo r k i n g wi t h t h e l a n d s c ap e h as a l l o wed me to piece dif fe re n t a s p e c t s o f m y i d e n t i t y a s a n immigra nt a nd s u r v ivo r. It h a s a l l o we d m e to re eva l u a t e the co ncept o f h o m e wi t h i n a n ew l a n d b u t a l s o wi t h i n m ys elf.

LITTLE | Jordanna Kalman ROMANCES W h en c o n s i d e re d as an o b j e c t t h e p ho to gra ph ex is ts p h ys ic al l y i n t h e wo r l d , i t b e l o n g s to s o m e o ne; it gets held , it h a s we i g h t , va l u e . I’ve b e e n i n t ere s t e d i n this co ncept fo r so m e t i m e .

I t w a s t h i s i n t e re s t p l u s t h e re c u r re n t u s e o f my ima ges o n lin e wi t h o u t m y p e r m i s s i o n t h a t m o t i vated the crea tio n o f t h e s e r i e s L i t t l e R o m an c e s .

I h ave a l way s m a d e ve r y p e r s o n al work, my current e m o t i o n a l s t at e an d i n t e res t s g e t t ra n s l ated d irectly into m y im a g e s . M o s t al l t h e s e i m a g e s re f l ect ques tio ns a nd a n xiet i e s ab o u t b e i n g a wo m an , n av i g a ting wha t tha t m ea ns ; wh a t i s e x p e c t e d o f m e a s a d au g hter, mo ther, wife o r love r ve r s u s wh a t I’m c ap ab l e o f .

w w w.rab bit an d sparro w.c om

I n s h ar i n g m y wo r k o n l i n e , s o m e t i m e s i t is trea ted with re sp e c t , b u t m o re o f t e n n o t . No t b e i n g a s ked fo r its us e, a n d/ o r n o t b e i n g c re d i t e d ; i t ’s u p s e t t i n g being trea ted tha t w ay e s p e c i al l y wi t h s u c h p e r s o n al i m ag e s .

I n L it t l e R o m a n c e s I p h o to g rap h p r i n t s o f my pho to gra phs a n d t h ey b e c o m e a p h y s i c a l o b j e c t ; m y object. I s urro und t h e m wi t h e l e m e n t s f ro m m y g ard e n o r o ther pers o na l it e m s n o t to evo ke n o s t a l g i a o r s e n t i menta lity but to deep en m y p h y s i c a l c o n n e c t i o n / c l a i m to t hes e ima ges a nd dis t a nc e t h e m f ro m t h e v i e we r.

T h e o b j e c t -i m ag e b e c o m es o b s c u re d , re p urpo s ed , d iver ted , so t h a t i t s o r i g i n a l i n t e n t re m ai n s s afe f ro m viewing a nd a t t h e sam e t i m e i t e x p l o re s a n e w n ar ra t i ve .

“

“ - Dorothea Lange

TEMPORARY | Elisabeth Hogeman ARRANGEMENT Tem po ra r y

Ar ran g em e n t

consists

of

a

s eries

of

p ro p o s i t i o n al d o m e s t i c s p a c e s . E a c h t a blea u is crea ted t h ro ug h a p ro c e s s o f p h o to g rap h i n g p i c t ures s ta cked o n to p of p i c t u re s , m ov i n g b ac k an d f o r t h b e tween the s tud io ( w it h s u n , d u s t , s h ad o ws ) an d t h e d i g i ta l ca nva s (fla t, se le c t ab l e , s c a l a b l e ) .

U sin g s o u rc e m a t e r i a l c u l l e d f ro m h o m e ca ta lo gues a nd desig n m ag a z i n e s , a n d i n c o r p o ra t i n g s t a ged s till lives , m o dul a r u n i t s a re c o n t i n u o u s l y re c o n f i g u red to inves tiga te t h e f o r m a l an d p s yc h o l o g i c al p o s s i b i l i t i es o f a rra ngement.

w w w.elisabet h h o g eman .c om

I a m i n t e re s t e d i n t h e g e n re o f s t i l l l i fe a nd co nventio ns o f s t ag i n g d o m e s t i c i t y. Tem p o ra r y Ar rangement refers to t h e t e m p o ra r y n at u re o f a s p ac e c re a ted s o tha t it c a n be re n d e re d , t ra n s p o r t e d , an d c o n s u med . Within this c o n ve n t i o n u t i l i t a r i a n o b j e c t s are s t r i p p ed o f their utility and

selected

for

their

c ap ac i t y

to

embo d y

plea s ure,

f a n t a s y, m e m o r y, o r c o m f o r t .

I w o rk wi t h l ayere d i m ag e r y t h at i s fla t a nd illus o r y, e m p has i z i n g t h e g e o m e t r y t h at e m erg e s fro m the pro ces s of

frag m e n t i n g ,

p h o to g ra p h i c

e n l a rg i n g ,

material.

re p r i n t i n g ,

Th es e

a nd

ab s t rac tio ns

repea ting provid e

a

b a c kd ro p o r s c a f f o l d i n g f o r m o re l eg i b l e d o mes tic s cenes .

T h e re s u l t i n g c o m b i n at i o n s h i f t s b e t we en phy s ica l a nd v ir t u a l s p ac e , wh i c h s e em s re l eva n t as we increa s ingly live t h ro ug h i m a g e s .

As a photographer, visual anthropologist, and mother, I am very interested in artifacts designed for children that define who we are and who we should be. Armed with an adult perspective, I look at what has been presented to children as simply afternoon activities.

These playthings often carry the suggestion of something more, through undertones of facial expression and dress, societal roles, idealist perspectives, and most importantly the exclusion of diversity in race and gender.

Paper dolls and Barbie dolls informed my own childhood about fashion, femininity, status, and elegance.

Dolls and doll dress changed in my daughter’s generation, bringing less sophistication and more sexuality to the experience, as little girls were emulating Britney Spears, rather than Jacqueline Kennedy and Audrey Hepburn. But as these photographs reflect, sexuality was always in the picture, no matter the decade.

By examining paper dolls, especially those from the 1940’s-1970’s, I have discovered the subtext of characterizing ourselves through perfectionist role models and observed a generic sameness to what was and is offered up to our children for self- definition.

For the photographs in Child’s Play, I have created new realities, new pairings, explored the sexual nature of the dolls, and had fun with time worn clichés.

Investigating these templates for adulthood has made me acutely aware of how narrow the ideals of family and adulthood were, leaving no room for the celebration of race or alternative choices. / www.alinesmithson.com

ISLAND | Maureen Drennan KINGDOM T h ro ug h m y p h o to g rap h s I s e e k o u t t h e vulnera bility a nd f a n t a s y o f l i v i n g i n a s m a l l i s l a n d c o m m u nity s een thro ugh t h e eye s o f t h e yo u n g wo m e n an d g i r l s wh o res id e there.

T h e co m m u n i t y i s B ro ad C h a n n e l , Q u e e n s a nd it’s a lifes ty le c o n di t i o n e d by wat e r, v u l n e rab l e to s to r m s, tid es , cha nging w ea t he r, a n d ye t , i n c l o s e p rox i m i t y to o ne o f the la rges t u r b a n c e n t e r s , Ne w Yo r k C i t y. B ro ad C h a nnel is a multige n e rat i o n a l , m o s t l y b l u e -c o l l ar n e i g h b o r ho o d with a rich h isto r y o f b e i n g re s i s t a n t to c h a n g e . Th e re is this end uring f a n t a s y o f l i v i n g n e ar t h e wa t e r t h a t i s i n d irect o ppo s itio n to t h e re a l i t y.

T h e re s i d e n t s l ove l i v i n g by t h e wa t e r, b ut there ex is ts a delic at e b al a n c e b et we e n t h e c o m m u n i t y a nd the na tura l e n v iro n m e n t . As t h e e f fe c t s o f c l i m a t e c ha nge s ha ke this b a la n c e , t h e c o m m u n i t y h a s b ee n c o n f ro n ted with the ha rs h re a lity t h at t h ei r h o m e an d c o m m u n i t y m ay no t be a s s ecure a n d id e a l i s t i c as t h ey t h i n k i t to b e .

w w w.mau reen d ren n an .n e t

I b e g a n d o cumenting the co mmunity in 2012, s eve ra l mo nths befo re Hurrica ne Sa nd y imbued t h e p ro j e ct with unfo res een turmo il. Flo o d ing f ro m t h e s to rm d eva s ta ted the co mmunity ; m an y l o s t their ho mes a nd po s s es s io ns . T he ard u o u s

recover y

und ers co res

the

co nflict

o f l i v i n g clo s e to the wa ter, es pecia lly when l e av i n g , to them, is no t a n o ptio n.

I a m p ar ticula rly d ra wn to the yo ung girls a nd wo m e n i n Bro a d Cha nnel beca us e, like their e n v i ro n m ent, they a re in a tra ns itio na l pla ce wi t h an uncer ta in future. T here is a s ubtle b o rd e r

between

d efia nce

a nd

vulnera bility.

Th e f ra gile s ta te between a d o les cence a nd ad u l t h o o d mirro rs the cha nging enviro nment t h a t i s a ffecting this is la nd co mmunity.

No Presence: On Flux & Photographic Time Te x t B y K e l s e y S u c e n a I m a g e s c o u r t e s y o f t h e N a t i o n a l Pa r k S e r v i c e

I used to practice Buddhist meditation. I tried

1/8000th of a second. Is this how we define

to count my breath in an attempt to break time

the present? In terms of fractions of a second

down into its absolute present. My present, it

wherein the smallest possible moment is most

seemed, was elusive. In many ways I am the

definitively the ‘here and now’? As of 2009 the

product of an anxious mind. I have lived most of

fastest camera, an experimental model that

my life in other places, but through Buddhism I

u s e s l a s e r s i n s t e a d o f a p h y s i c a l s h u t t e r, c a n

sought to find myself comfortably situated here

chop time up into parcels as small as 1/440

in ‘the present’.

trillionth of a second. So is that it? Is that the present?

I was also studying photography and inclined to explore the relationships between the two. Often

As it would seem with space, so it seems with

I reveled in the meditative potential of mindfully

time. What I mean is that the closer we get to

observing the world through a camera. I also

it, the further it would seem find ourselves from

paid attention to the way that shutters seem

discerning an absolute present. Even at 1/440

to break apart time. At 1/1000th of a second a

trillionth of a second, it is possible to imagine

Graphlex camera once seemed about as close

a single photograph as consisting of a near

as anything to capturing ‘the present’. But there

infinite series of moments which themselves

a r e h o l e s i n t h e l o g i c o f ‘ p r e s e n c e’ w h i c h f a s t

may be infinitely divided. The only limitations on

shutter speeds begin to reveal.

this seem to be technological and spatial (how fast can light travel through a lens?). These are

I moved from Buddhism to explore a wider

not the limits of time itself. So then what other

philosophical discourse around the nature of

models of time might we consider and how do

time. First, there is the traditional model I most

photographs come into play?

often use. Within this model, time is understood in spatial terms as it is mapped onto timelines

I mentioned Heraclitus in par t because he spent

in a linear fashion consisting of past, present

so much of his life considering time and space.

and future. This model works in part because

His concept of flux presents us with a more

it is pragmatic, ensuring we all get to our

complicated interpretation of the way time

t e n o’ c l o c k m e e t i n g s , o r r e m e m b e r h o w m u c h

works. Here, Hericlitus thinks of time (or more

time has passed between us and the death of

a c c u r a t e l y, o f h i s t o r y ) a s a f l o w i n g r i v e r.

Heraclitus. But what happens when we zoom in on this timeline? A question comes to mind that photography seems to complicate. Namely: Where exactly is the present?

“Just as the river where I step is not the same, and is, so I am as I am not”

A Graphlex Speed Graphic can capture images at 1/1000th of a second. This is fast enough

According to Herclitus, each time one revists

t o e l i m i n a t e m o s t s t a n d a r d m o t i o n b l u r. I m a g e s

history (the timeline) one discovers something

appear sharp, and figures appear suspended in

f l u i d , c h a n g i n g a n d a l w a y s e n t i r e l y n e w. W h a t w e

a kind of “present”. My digital camera, a Sony

call a river is actually a near infinite number of

a 7 I I , t a k e s t h i s f r a g m e n t a t i o n a s t e p f u r t h e r,

water molecules flowing. What we call ‘history’

clocking in at a maximum shutter speed of

i s , i n m u c h t h e s a m e w a y, a n e a r i n f i n i t e s e r i e s

of moments flowing. With his theory of flux we

t h e n i n e t e e n t h c e n t u r y, t h i n k e r s f r o m M a r x t o

can start to imagine time as a messier thing. It

Foucault have emphasized the role of narrative

flows back and for th in erratic ways. His idea of

in the construction of the past and future. Marx,

time may seem metaphysically confusing and

for example, constructs his own history as the

unverifiable, but consider photographs within

story of class struggle destined to culminate

t h a t f l o w o f t i m e . T h e v e r y e x i s t e n c e o f m e m o r y,

into his vision of an egalitarian revolution to

as in the existence of photographs, suggests a

come. They suggest that our understanding

backwards movement of time. Here we see the

of history is predicated on grand narratives,

lost houses of Fire Island. They are present in

stories we live with and live within.

the silver-salt of an old negative so that, in a w a y, t h e p a s t i s a l w a y s w i t h u s , h e r e a n d n o w. I t i s e m b e d d e d w i t h i n the photographic emulsion, as it is within our waning

Here, the photograph is not history so much as it is a construct of h i s t o r y, a b r i c k i n t h e m o r t a r o f t i m e . Ta k e , f o r e x a m p l e ,

m e m o r y.

the famous photograph of American Marines

This

is

important to

make

an point

exist

in

a

flag

over

Iwo Jima. It stands

because

photographs not

raising as

an

do

road

the

the

icon,

sign

a

within

narrative

of

past. Many would

h i s t o r y, a c t i n g a s

outright

irrefutable proof of

the a

deny

existence

past

and

of

American

future

in the Pacific theatre

a l t o g e t h e r. T h a t c l a p

of the second World

o f a s h u t t e r, i n w h i c h

W a r.

we imagine capturing the photograph

comes

Most

probably

‘present’, is not the moment a

triumph

into

existence. In reality this is just the

folks

less

are

familiar

with the first photograph taken of the same flag flying o n t h a t d a y. I t ’s a d e c e n t p h o t o , b u t

beginning of a process, as chemical magic works

it also fails to convey a proper sense of drama

to reveal the latent image. Once printed, the

a n d A m e r i c a n t e n a c i t y. A s s u c h , f o r a l l i n t e n t s

image is viewed, interpreted and reinterpreted

and purposes, this photograph has largely been

over time. Within this flux, photographs are not

edited out of the historical cannon. According

singular points plucked from the timeline, but

to this kind of narrative model, time consists of

complex processes of chemistry and cognition

an infinite series of moments which, like a well

which are forever in flux themselves. They carry

edited photobook, are pulled into and out of

us forward and backwards as we see fit.

a larger story based more on their usefulness within the present, than on their truthfulness to

Hericlitus’ model of time was eventually usurped

the past. The past does not exist, there are only

b y m o r e h u m a n i s t f r a m e w o r k s f o r h i s t o r y. S i n c e

the stories we tell ourselves about it.

Henri Bergson, a french philosopher from the f i r s t h a l f o f t h e t w e n t i e t h c e n t u r y, m i g h t d i s a g r e e w i t h t h e i d e a o f k i l l i n g t i m e . To B e r g s o n b o t h past and future coexist within the present. It is difficult for us to imagine because we are so inclined to visualize time within space, to see it as lines or as rivers. Because two things cannot exist in the same place we are left to assume that two kinds of time must also be mutually exclusive. Bergson would counter this by suggesting that the present does exist (as observation), whereas the past and future exist vir tually (as memories or trajectories).

It is important to note that, when we are

we can imagine models that work for us, that

remembering something, we are always doing

create possibilities and that challenge existing

so in the present. If I look at this photograph

power structures.

of a sunken house I can begin to observe how its past has shaped our present. I can begin

So, the next time you look at a photograph I want

to imagine how that same past can translate

you to imagine its many possibilities. There

into the future. If I am mindful I might begin to

is the present, the world contained within the

notice the ways in which my present changes

smallest fraction of a second. The past existing

this

emotions

as a shadow in silver and dye. And the future,

around a visage that might not have existed

p r e s e n t i n t h e f o r m o f t r a j e c t o r y, p r o m i s e a n d

before. I might even begin to see our futures

t h e p o t e n t i a l f o r r e i n t e r p r e t a t i o n . Yo u c a n m o v e

within this inundated home, as our shorelines

your photographs around to tell new stories,

continue to recede.

trace out the form of new narratives and ideas. Or

past,

shaping

memories

and

you can simply sit in the present and appreciate Gilles Deleuze, a french philosopher from the

t h e w a y t h a t i n k l o o k s o n p a p e r.

s e c o n d h a l f o f t h e t w e n t i e t h c e n t u r y, c a m e t o r e i n v e s t i g a t e B e r g s o n’s i d e a o f t i m e . D e l e u z e ,

More than anything I think that photographs are

working within an academic world dominated by

objects of flux, a kind of glitch within the matrix

the postmodern notion that the past and future

o f h u m a n u n d e r s t a n d i n g . I s n’ t i t a s t o u n d i n g t h a t

do not actually exist, found great comfort in

the Universe has existed for 13.8 billion years

B e r g s o n’s m o d e l . To D e l e u z e , t h e f a c t t h a t i t i s

and we are lucky enough to find ourselves here,

difficult to picture this model of time is a kind

with these questions, in this moment?

of saving grace.

Because our perception is limited within spatial t e r m s i t m a y b e t h a t t h e r e a r e o t h e r, e v e n w i l d e r ways of understanding time. We may never have access to the truth about it. What matters is that

SOLARIS | Gerasimos Platanas

w w w.g erasimo sp latan as.c om

THE PREVAILING | Aaron Blum WINDS OF HILLS AND HERITAGE

w w w.aaro n b lu mp h o to .c o m

Appala c h ia p u lls a t m e l i ke a h au n t e d memo r y. T h ere is a n i n e f f ab l e f o rc e that c o m p els m e to s u s p en d re a l i t y an d embra c e s u p e r st it io n a n d m y t h . It i s a longi n g to h o ld o n to m y c u l t u re an d histo r y in s p it e o f t h e m o d e r n wo r l d .

The n e b u lo u s f o rest s, e n ve l o p i n g m o s s and da r k c o r n er s s e e m to t e l l a p u re r tr uth .

Stor y t e llin g in Ap p a la ch i a h as a l o n g standin g

t ra dit io n ,

and

it

infuses

the regio n w it h m ys t e r y. U s i n g l o re , pseu do - s c ie n t if ic s t u d y, a n d p e r s o n a l exper ien c e s a s a c o m p a s s I s e e t h i s place t h ro u gh idea lized eye s o f wo n d e r, and t h ese im a g e s b ec o m e m y p er s o n a l folklo re .

They b r in g to life t h e f a n t as i e s an d memo r ie s I c a r r y w it h m e . Th i s i s a place w h e re yo u c a n was h a way s i n i n cool st re a m w a t e r s, w h e re c o r p s e b i rd s come to fer r y a w ay s o u l s to t h e n e x t life, ro c ks b u r n a n d k u d z u c o n c e al s .

This is t h e p la c e w h e re t h e p reva i l i n g wind s w h isp e r o ld sto r i e s to t h o s e wh o know h o w to lis t e n .

sh ts o shots

of time Peter Cohen is a New York based collector of snapshots and vernacular photographs. From a modest start at a local flea market over two decades ago, Cohen’s stunning collection has since swelled to more than 60,000 photographs.

The archive spans much of the twentieth century and encompasses many different processes and formats, including gelatin silver prints, cyanotypes, hand-tinted photos, Polaroids, and complete photo albums.

Yael Eban is a lens-based artist and archivist of the Peter J. Cohen Collection. Working with found imagery has influenced her creative process, leading her to reflect on the parameters of the archive in a digital age. Her current practice sits at the intersection of active image-making and the collecting and repurposing of images that already exist in the world.

This particular layout for the Killing Time issue of Float is a meditation on isolation, boredom, and stillness.

All images are from the Peter J. Cohen Collection Concept and layout by Yael Eban www.pjcohencollection.com www.yaeleban.com

\

EUSA | Naomi Harris

w w w.n ao mih arris.c o m \ @ map ledipped

In the winter of 2008, I traveled to the mountains

Sweden. I attended a Rendezvous Weekend, and the

of north Georgia in the southern United States to

campground was full of people dressed in costume.

photograph the final swingers’ event for my book

There were Native American (though they were

A m e r i c a S w i n g s . H a v i n g a r r i v e d e a r l y, I f o u n d I

blond and blue-eyed), fur trappers, pioneers and

had time to kill before the festivities ensued, so

American Civil War soldiers, both Confederates and

the party organizer suggested I go visit the town of

Unionists. Not a single cellphone, digital camera or

Helen.

any other sort of technological gadget was in sight.

The campsites were primitive, with very one cooking

“ W h a t ’s t h e r e ? ” I a s k e d .

o n a n o p e n f i r e . T h e r e w a s a n a u t h e n t i c i t y, f r o m the attire right down to the bedrolls, meticulously

“ Tr u s t m e , j u s t g o ,” h e r e p l i e d .

c a p t u r i n g e v e r y d e t a i l o f t h e p e r i o d . I f y o u h a d n’ t k n o w n a n y b e t t e r, y o u ’ d h a v e t h o u g h t y o u w e r e i n

So I got into my rental car and drove about a half-

1860s Virginia, not Sweden in 2008.

hour until I came upon this tourist town too tiny to even warrant a traffic light.

For the next several summers, I ventured back and

The buildings on Main Street were covered in

forth between the United States and Europe to

gingerbread, giving it a faux- Bavarian feel. The

photograph a Maifest in Washington state, “cowboy

restaurants served schnitzel, spätzle and bratwurst,

a n d I n d i a n” a m u s e m e n t p a r k s i n G e r m a n y, F r a n c e ,

and the gift shops sold cuckoo clocks, beer steins

Italy and the Canary Islands, a Dutch tulip celebration

a n d T- s h i r t s w i t h C o n f e d e r a t e f l a g s a n d “ I t ’s a

i n I o w a , a r o c k a b i l l y f e s t i v a l i n H u n g a r y, a V i k i n g

Southern

gathering in Alaska and a Civil War reenactment in

Thing

Y’all”

emblazoned

across

their

fronts. This is the Deep South, after all, even though

the Czech Republic.

it resembled a Bavarian alpine village.

The story goes that in the 1960s this former logging

My observation is that the American destinations

town was in decline, facing a recession. A resident,

tend to be about celebrating the heritage of those

who also happened to be a World War II veteran,

who settled in the area, such as the Danish in

suggested the townsfolk give the southern enclave

Solvang, California, or the Norwegians in Petersburg,

a m a k e o v e r, t u r n i n g t h e A p p a l a c h i a n s i n t o t h e A l p s .

A n d b o a s t i n g t h e w o r l d ’s l o n g e s t O k t o b e r f e s t f r o m t h e b e g i n n i n g o f S e p t e m b e r t o t h e e n d o f O c t o b e r, Helen became a tourist hot spot. Intrigued, I was curious to see whether any other places like Helen existed elsewhere in the United States. I drove back t o m y m o t e l r o o m a n d g o o g l e d “ E u r o p e i n A m e r i c a .”

Frankenmuth, Michigan. Solvang, California. Orange C i t y, I o w a . L e a v e n w o r t h , W a s h i n g t o n .

OK, I was onto something.

But then I also wondered whether there were any places in Europe with little bits of America nestled within them and where they were.

The first place I went to photograph for EUSA was High Chaparral, a Wild West theme park in

A l a s k a , o r t h e D u t c h i n O r a n g e C i t y, I o w a , w h e r e a s the European sites are often about a fascination with American culture, albeit a culture of the past.

In Germany and much of Eastern Europe, there is an obsession with Native Americans, thanks to Winnetou, the central character from a series of books written

by German author Karl May between 1875 and 1910.

The fact that May never set foot in America (or at least not until 1908 and never reaching the Wild West), did his research by reading the books in the prison library where he was jailed for petty theft and is even rumored to have plagiarized the books a l t o g e t h e r d o e s n’ t d e t e r h i s f e r v e n t f o l l o w e r s . T h e stories were so popular in Nazi Germany (Hitler was ostensibly a fan) that they escaped being banned, notwithstanding the protagonist being non-Aryan.

E a c h s p r i n g a c e l e b r a t i o n i s h e l d i n M a y ’s h o n o r in his hometown of Radebeul, where a large street fair features pageants based on his books and where many people dress in Native American-like costumes.

g l o b a l i z a t i o n . I t d o e s n’ t m a t t e r i f y o u ’ r e i n N e w Yo r k , P a r i s , o r F r a n k f u r t ; w e e a t t h e s a m e f o o d s , wear the same clothes, and talk on the same p h o n e s . W e c o n s u m e t h e s a m e b r a n d s . W e’ r e p a r t

I should note that in North America dressing in traditional First Nations costume is considered cultural appropriation and, therefore, insensitive.

There was a time when it was trendy and cool for young music festival attendees to don feather headdresses with their bikinis, or when mainstream stores like Urban Outfitters used traditional Navajo p a t t e r n s o n e v e r y t h i n g f r o m s o c k s t o u n d e r w e a r, b u t now Native people are speaking out and informing society that it is not OK to wear their ceremonial vestments to be stylish.

What to make, then, of the Europeans who dress up as Natives during their rendezvous weekends? Is there a difference in the sense that they are doing so out of admiration and respect, painstakingly handcrafting

is being watered-down and homogenized due to

their

costumes

with

historical

accuracy and wearing them as a way to honor the Native American. Does this give them a pass in the conversation on cultural appropriation?

So why are we so interested in the other anyway?

I think at this particular time society universally

of an international community hard pressed to be u n i q u e a n d s t a n d o u t f r o m o n e a n o t h e r. T h e I n t e r n e t has fur ther leveled the field, granting us access to instant knowledge about anyone and anything worldwide. Thus there is a longing for a bygone era when differences were more distinct. In America, they are celebrating who they were and where they c a m e f r o m , b u t f o r E u r o p e a n s i t ’s c e l e b r a t i n g w h o m t h e y a r e f a s c i n a t e d b y.

The question remains as to how much longer events like these will continue. I suppose if there is a need for humans to connect with our pasts, both real a n d i m a g i n e d ( a n d , l e t ’s f a c e i t , t o h a v e f u n ) , t h e rituals will go on. The photos in this book are about t a k i n g t h i s j o u r n e y, b u t o n e w h e r e t h e d e s t i n a t i o n i s u n c l e a r. A r e y o u i n A m e r i c a , o r a r e y o u i n E u r o p e ?

Exactly who are these people? This is often a m y s t e r y, a n d o n e n e e d s t o l o o k f o r t h e c l u e s a s t h e y travel through the land of EUSA. [Essay from the book EUSA buy a copy on the Kehrer Verlag website]

DOWN THE | Adrian Skenderovic RIVER I n Pa r i s , to u r i s t b o at s c al l e d « b at e a u x -mo uches » cruis e do w n t h e Se i n e r i ve r, o f fe r i n g s i g h t s e e r s a unique view o f t h e E i f fe l to we r, t h e L o u v re M u s e u m , the No tre D a me Ca t h e d ral an d o t h e r we l l -k n o wn m o n u m e n ts .

In

his

series

“ D o wn

Th e

R i ve r ” ,

p h o to gra pher

Ad ria n

S ken d e rov i c c ap t u re s t h e l i fe o n Th e Seine, by lo o king do w n o n to u r i s t s l o o k i n g a t Par i s .

www.ad rian sken d erov ic p h o to g raph y.c o m \ @adr ian_fhtf

WORDS FROM THE EDITORS

Time. What a sub j e c t m at t e r to t ac k l e . C an you ever re al l y capt ure t he essen c e of w h at t i m e re al l y i s ?

Photography has a t e n de n c y to c re at e t h e i l l u s i on of capt ur ing t ime. We h ave al l h e ard abou t t h at m ag i c al ‘decisive momen t ’ i de a of h ow a m om e n t i n t i m e i s capt ured in it s i de al f orm by t h e ph otog raph’s eye an d camera. It is a s pl i t s e c on d i n t i m e w h ere eve r yt h i n g aligned up per fe c t l y, a s e c on d t h at on l y t h e c am e ra can capt ure and on l y i f you w e re l u c k y e n ou g h to be t here to capt ure i t . B u t , i s i t eve n a re al c on c ept ? C an a photograph act ual l y c apt u re t h e “ ri g h t ” m om e n t i n t i m e ?

What is r ight , what i s w ron g an d w h at i s i n be t w ee n t h e m ?

In t his issue, we l ooke d i n to w h at t i m e c ou l d m e an f or dif ferent photograph ers . How t h ey n ot on l y re pre s e n t t h e idea of killing t im e , bu t h ow w e , as t h e re ade rs , c ou l d relat e to it . In eac h body of w ork t h e re i s a ph otog raph e r ’s way of viewing - f rom l i t e ral t i m e to a poe t i c an d pe rs on al approach. This

issue

is

a

c ol l e c t i ve

of

‘times’

t h at

challenge, conf irm or qu e s t i on ou r n ot i on on t h e s u bj e c t mat t er.

We hope t hat t hi s i s s u e rai s e s qu e s t i on s . W h y i s e ac h project in t his is s u e an d w h at do t h ey re pres e n t ? Wel l , t hose are open qu e s t i on s t h at w e s h ou l d al l t h i n k abou t but not necessari l y be abl e to an s w e r i n f u l l . T h i s i s s u e i s here to let you k i l l t i m e; t ake a fe w m om e n t s ou t of you r day to dedicat e to ar t an d ph otog raph y.

P hoto: Yoav Friedlan de r