RedDot Fall 2010/11
PHOTOGRAPHY: ERIK ASLA
RedDot Fall 2010/11 Red Dot is curated by Global Director, Amy Steigbigel, and highlights a selection of the Gallery Stock premium Rights Managed image library.
Baldomero Fernandez
.
Red Dot Fall 2010/11
Fall
BALDOMERO FERNANDEZ
Chad ress
karin apollonia Müller
.
Red Dot Fall 2010/11
Erik asla
Winter
Beauty
CHAD RESS & KARIN APOLLONIA MÜLLER
ERIK ASLA
andrea Buso
samuel herman gottscho MusEuM oF thE City oF NEw york
.
Berenice abbott
MusEuM oF thE City oF NEw york
.
Red Dot Fall 2010/11
Red Dot Fall 2010/11
Beauty
ANDREA BUSO
.
Red Dot Fall 2010/11
New York
SAMUEL HERMAN GOTTSCHO & BERENICE ABBOTT
“I was also aware that the project would require me to be go to great lengths to gain people’s trust and escape my comfort zone.”
What advice would you give to an emerging photographer
laura Pannack
just starting out in the business today? What is the most important lesson you’ve learned thus far in the industry?
new Gallery stock artist:
To stay positive. I hear so much negativity but I think when something is your true passion and interest you can’t help but pursue it. Saying that, it is important to be realistic. The best piece of advice anyone gave me was Mark Power. He said just one thing as I left uni: “ Don’t stop shooting personal projects” Your vision and the way in which you decide to communicate is unique and will evolve , it sets you apart from anyone else.. but the best advice I can personally give is . . . enjoy it.
and need to find time to stay in touch! For a chilled moment
We’re really excited to have you on board with Gallery Stock.
Jesus, the xx, Yeasayer and my very talented friends Esben and
One final question we like to ask our new photographers…
the Witch to cut some shapes to: Jurassic 5, DJ Abdominal, Be-
who is getting a lot of playtime on iPod right now?
yoncé ( guilty pleasure), Beastie Boys, Chemical Brothers . . .
or two . . . Coco Rosie, Grizzly Bear, Two Door Cinema Club, Zola
Laura Pannack Laura, where are you from originally? How did you first de-
this was something that I hope has greatly contributed to the
velop an interest in photography?
project. The idea of exploring what would happen when a pho-
I studied fine art painting and did a foundation course at Central
tographer is more vulnerable than their subject intrigued me
Saint Martins. It was there that they offered a two-week course and
and I was also drawn to the idea of complete strangers meeting
after taking my first picture I was hooked. I carried a 35mm with a
and socializing naked.
roll of black and white film on me everyday and shot street photog-
I wanted to know why they felt the need to be naked or be part
raphy for a year before doing a course at lCC. My father is a pho-
of a group where this was not only acceptable but also encour-
tographer so as I child I was sometimes in the darkrooms and hung
aged. I soon realized that naturism is more than just about be-
out at his studio sometimes. I do have great memories of helping
ing naked, it is a philosophy of life with physical, psychological,
him in the darkroom, tipping trays when I was about 7 . . . I found it
environmental, social and moral beliefs. Some would classify
mesmerizing to see the images appear.
naturism as a religion. The English tend to have a preconceived
What event do you consider as your first big break or mile-
age of 30 to challenge this stereotype further.
Ooooooo it all depends on the mood I’m in . . . weather and scenery . . . I love music but I have a shameful . . . shameful playlist
Cheers, Laura!
view of naturists. I specifically focused on individuals under the stone in the industry? I don’t know really, I guess it was winning the Hotshoe interna-
Where do you see yourself in five years, in terms of your artwork?
tional award in 2008 and gaining my first commission for the
I hope that I will have pushed my image making further, learnt
Saturday telegraph whilst at University.
more, experimented more, gained new approaches and completed a body of work that I feel is successful.
Tell us about this project. What compelled you to create this portrait series and what was your thought process behind it?
Laura, tell us about your influences…whose work do you en-
The idea behind my latest body of work on young British natur-
joy looking at? Who is one of your favorite photographers
ists stemmed from a combination of research and my focus on
and why?
young people in my previous bodies of work. Despite wanting
I have so many! Simon Roberts has and always will be a huge in-
to veer away from young people I found the subject too tempt-
fluence on me. I am constantly inspired by new work both from
ing. I knew that to embark on this project would challenge me
favourite photographers and new discoveries. I relish in viewing
and help progress my image making. With every project I try to
imagery and films so anything that is thought provoking and cre-
think of new ways to experiment, learn new techniques and ap-
ative is always influential. Films, and literature also contribute
proaches. I was also aware that the project would require me
and I draw much of my inspiration from my friends , family and
to be go to great lengths to gain people’s trust and escape my
subjects. To name a few, I have always loved the work of Phillip
comfort zone. To really understand my subjects and allow them
Lorca de Corcia, Alec Soth, Gregory Crewsdon, Ryan McGinley,
to feel at ease I decided to also spend the entire time naked and
Joakim Eskildsen . . . there are sooo so many
.
Red Dot Fall 2010/11
.
Red Dot Fall 2010/11
Interview
Featured Artist
LAURA PANNACK
LAURA PANNACK
laura Pannack
.
tom Nagy
.
Red Dot Fall 2010/11
Red Dot Fall 2010/11
Featured Artist
Architecture
LAURA PANNACK
TOM NAGY
Big report
Francis Frith
gEorgE EastMaN housE
.
Édouard Baldus gEorgE EastMaN housE
.
Red Dot Fall 2010/11
Red Dot Fall 2010/11
Big Report
Antiquity
GEORGE EASTMAN HOUSE
Baldomero Fernandez
.
Red Dot Fall 2010/11
Chad Ress
.
Red Dot Fall 2010/11
Karin Apollonia M端ller
.
Red Dot Fall 2010/11
Erik Asla
Andrea Buso
.
Red Dot Fall 2010/11
Samuel Herman Gottscho MUSEUM OF THE CITY OF NEW YORK
.
Red Dot Fall 2010/11
Berenice Abbott
MUSEUM OF THE CITY OF NEW YORK
Laura Pannack
.
Red Dot Fall 2010/11
New Gallery Stock Artist:
Laura Pannack Laura, where are you from originally? How did you first develop
this was something that I hope has greatly contributed to the
an interest in photography?
project. The idea of exploring what would happen when a pho-
I studied fine art painting and did a foundation course at Central
tographer is more vulnerable than their subject intrigued me
Saint Martins. It was there that they offered a two-week course and
and I was also drawn to the idea of complete strangers meeting
after taking my first picture I was hooked. I carried a 35mm with a
and socializing naked.
roll of black and white film on me everyday and shot street photog-
I wanted to know why they felt the need to be naked or be part
raphy for a year before doing a course at lCC. My father is a pho-
of a group where this was not only acceptable but also encour-
tographer so as I child I was sometimes in the darkrooms and hung
aged. I soon realized that naturism is more than just about be-
out at his studio sometimes. I do have great memories of helping
ing naked, it is a philosophy of life with physical, psychological,
him in the darkroom, tipping trays when I was about 7 . . . I found it
environmental, social and moral beliefs. Some would classify
mesmerizing to see the images appear.
naturism as a religion. The English tend to have a preconceived view of naturists. I specifically focused on individuals under the
What event do you consider as your first big break or mile-
age of 30 to challenge this stereotype further.
stone in the industry? I don’t know really, I guess it was winning the Hotshoe interna-
Where do you see yourself in five years, in terms of your artwork?
tional award in 2008 and gaining my first commission for the
I hope that I will have pushed my image making further, learnt
Saturday telegraph whilst at University.
more, experimented more, gained new approaches and completed a body of work that I feel is successful.
Tell us about this project. What compelled you to create this portrait series and what was your thought process behind it?
Laura, tell us about your influences…whose work do you en-
The idea behind my latest body of work on young British natur-
joy looking at? Who is one of your favorite photographers
ists stemmed from a combination of research and my focus on
and why?
young people in my previous bodies of work. Despite wanting
I have so many! Simon Roberts has and always will be a huge in-
to veer away from young people I found the subject too tempt-
fluence on me. I am constantly inspired by new work both from
ing. I knew that to embark on this project would challenge me
favourite photographers and new discoveries. I relish in viewing
and help progress my image making. With every project I try to
imagery and films so anything that is thought provoking and cre-
think of new ways to experiment, learn new techniques and ap-
ative is always influential. Films, and literature also contribute
proaches. I was also aware that the project would require me
and I draw much of my inspiration from my friends , family and
to be go to great lengths to gain people’s trust and escape my
subjects. To name a few, I have always loved the work of Phillip
comfort zone. To really understand my subjects and allow them
Lorca de Corcia, Alec Soth, Gregory Crewsdon, Ryan McGinley,
to feel at ease I decided to also spend the entire time naked and
Joakim Eskildsen . . . there are sooo so many
.
Red Dot Fall 2010/11
What advice would you give to an emerging photographer just starting out in the business today? What is the most important lesson you’ve learned thus far in the industry? To stay positive. I hear so much negativity but I think when something is your true passion and interest you can’t help but
“I was also aware that the project would require me to be go to great lengths to gain people’s trust and escape my comfort zone.”
pursue it. Saying that, it is important to be realistic. The best piece of advice anyone gave me was Mark Power. He said just one thing as I left uni: “ Don’t stop shooting personal projects” Your vision and the way in which you decide to communicate is unique and will evolve , it sets you apart from anyone else.. but the best advice I can personally give is . . . enjoy it.
and need to find time to stay in touch! For a chilled moment or two . . . Coco Rosie, Grizzly Bear, Two Door Cinema Club, Zola
We’re really excited to have you on board with Gallery Stock.
Jesus, the xx, Yeasayer and my very talented friends Esben and
One final question we like to ask our new photographers . . . who
the Witch to cut some shapes to: Jurassic 5, DJ Abdominal, Be-
is getting a lot of playtime on iPod right now?
yoncé ( guilty pleasure), Beastie Boys, Chemical Brothers . . .
Ooooooo it all depends on the mood I’m in . . . weather and scenery . . . I love music but I have a shameful . . . shameful playlist
Cheers, Laura!
.
Red Dot Fall 2010/11
Laura Pannack
Tom Nagy
.
Red Dot Fall 2010/11
Big Report .
Red Dot Fall 2010/11
Francis Frith
GEORGE EASTMAN HOUSE
.
Red Dot Fall 2010/11
Édouard Baldus GEORGE EASTMAN HOUSE
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