by Alain Laboile
I’m a father of six. Through my photographic work, I celebrate and document my family life: a life on the edge of the world, where in temporality and the universality of childhood meet.
Day to day I create a family album that constitutes a legacy that I will pass on to my children. My work reflects our way of life, revolving around their childhood. My photographs will be the testimony of that. In a way, my approach can be considered similar to the one of an ethnologist.
Though my work is deeply personal, it is also accessible, addressing human nature and allowing the viewer to enter my world and reflect on their own childhoods. Fed every day and shared with the world via the internet, my photographic production has become a means of communication, leading to a questioning about freedom, nudity, being and having. Continue reading.
Lissa Rivera is a photographer and curator based in Brooklyn, NY whose work has received multiple grants and honors and been exhibited internationally. Rivera received her MFA from the School of Visual Arts, where she became fascinated with the social history of photography and the evolution of identity, sexuality, and gender in relation to material culture. ‘Beautiful Boy,’ Rivera’s latest project, takes her interest in photography’s connection with identity to a personal level, focusing on her domestic partner as a muse.
Selected press includes The New York Times, The Guardian, Harper’s Bazaar, Forbes, PAPER, I-D Magazine, The Boston Globe, Huffington Post, and Slate among many others. Rivera was chosen as a “Woman to Watch” for the biennial exhibition at the National Museum of Woman in Arts. Selected honors include the Griffin Museum’s Peter Urban Legacy Award; Feature Shoot’s Emerging Photography Award; Photographic Resource Center Exposure, 2016; Danforth Museum Purchase Prize; Filter Photo Festival’s People’s Choice Award; the D&AD Next Photographer Shortlist, 2017; and the Magnum Photography Award for Portraiture, 2017. Rivera is represented by ClampArt, New York. Learn more.
“I think we should record whatever we see, whether we like it or not,” wrote Erich Lessing, one of Magnum’s earliest members. Revered for his ability to capture fleeting moments of history, his documentation of the Hungarian Revolution is unparalleled in both its scope and power. The first photographer to arrive in Budapest where the revolt began, Lessing stayed to photograph its duration and aftermath. The photo-essay was a defining moment in his photographic career. However the extent of the suffering he witnessed also caused Lessing to question the purpose of war photography, and he went on to steer clear from documenting conflict for the rest of his life. Continue reading.
NEW CLASSES BY GWENDOLYN STINE
Gwendolyn is an award winning artist at the national level, with Peter Trippi, editor of Fine Arts Connoisseur magazine, choosing her drawing "Peace of Strength" as Best of Show at the 2013 Laumeister Fine Art Competition. Her work has also been selected for inclusion in exhibitions at the Salmangundi Club in NYC as well as here in Arizona at the Herberger Theater Center, SkyHarbor Airport & Tohono Chul in Tucson.
Since her youth, growing up in Bethlehem PA, Gwendolyn has always been fascinated with the concept of "point to point relationships … infinite possibilities" on all it's varying levels. In the early '90's, synchronicity brought her to study with Myron Barnstone at his much lauded Barnstone Studios. It was here she received her classical training in drawing & the use of Dynamic Symmetry. Aha! The penny dropped, for this study of disegno brought Art, Science & Theology all together, forming a circle of understanding; for now, it was easy to see the thread running through the whole. This gave solidity and explanation to her belief that 'Nothing is Arbitrary' and provided greater insight into the idea of just what Creation might be. It is the awareness & seeking of coincidence & connections that form the basis of her life's work, no matter if it is time spent with one of her special needs clients, in her garden, shooting photos or sitting down to draw - "All is in relation."
by Robert Blombäck
This is a story of my family and our home in Norrbotten, Sweden. I have been taking photos of my family at sea by our summer house in the Kalix archipelago over a period of 20 years. The series is an attempt to tell the story of the people and landscape of northern Sweden through the ritual of the sauna.
Here, in this barren archipelago, almost everything has been stripped away. Only the simple and essential elements remain. In the sauna, bodies sweat out the toils of the day, and slowly they soften, are cleansed, and eventually find their way back to their own rhythm. This universal and instinctual need to step into the hot room every night during the summer is reminiscent of a religious rite.
In Sweden, each generation carefully passes on their family’s history and life philosophy to the next. Rural areas present a borderland: a semi-magic place where totem poles become maypoles; where during the night, the sun does not set. Here, the half-tame raven befriends the dog, and the old, who are long gone, remains ever present. We live our lives. Our children are born and grow up. We age in joy and in sorrow.
By working with a slow, analog technique, I try to find a visual language that is as bare, stripped and austere as the stark landscape itself. My project has slowly grown, adding a few new pictures every summer. The ones I have chosen have been given the time to mature with the passing of time.
The pictures taken in the water are photographed against a background of two tongues of land. These serve as reference points or a stage where life passes by. The children have grown up, and life has left its mark. Only nature is seemingly unmoved. Continue reading.
After studying design and photography at the School of Documentary Photography at Newport (now part of the University of Wales), Stuart Smith worked as a designer for the Architectural Association School of Architecture and Phaidon Press. He later established his independent bookmaking practice in 1994. Smith has worked on over forty books with Aperture’s Executive Director, Chris Boot, at Phaidon, Chris Boot Ltd., and, now, at Aperture. In advance of Smith’s first workshop for Aperture, September 17–18, Boot talked with the designer about “how not to design a photobook.” Continue reading.
by Carolyn Drake
Road trips have an almost mythical status in American culture; open roads have inspired countless artists and writers, the expansive landscapes, the empty highways, roadside attractions, pit stops, the passing ghost towns, as significant, if not more so, than the eventual destination. Highway rest stops, therefore catch people during the interlude moments of their journeys. Magnum’s Carolyn Drake photographed the goings on at highway rest stops across America, photographing weary travelers stretching their legs, taking cigarette breaks, eating roadside picnics and walking dogs. The more surreal moments appear in the red-lit glow of nightfall, where we see one visitor taking a break to play some violin.
“The rest stops didn’t feel very distinct,” she says. “These are state-funded projects and usually bare boned; a cluster of trees, a bathroom, a parking lot. I enjoyed talking with the workers there and wish I had sat down to record interviews with them. A lot of them are retired, living in remote places, working there part time to barely make ends meet, but they had stories and opinions about the travelers they had seen coming and going over the years.”
For Drake, the American road trip that sticks most in her mind is The Great Unreal by Onorato and Krebs. “I can’t drive long distances with my camera in this country without thinking about this work.” Continue reading.
When Elvis Presley died on August 16, 1977, aged 42, at his Graceland home in Memphis, Tennessee, it was only the start of numerous conspiracy theories that refused to accept that the ‘king of rock and roll’ had really passed. Many legends centered on the idea that Elvis was still alive, living somewhere else in the world, arguably making him the most widely-sighted celebrity despite being deceased.
Through tribute acts, artwork and paraphernalia stamped with his unmistakable silhouette, which appears across all corners of the world, Presley’s image is one of the most recognizable and the most protected. From the Congo to Calderdale, West Yorkshire, Magnum photographers have photographed the many manifestations of Presley’s image, which lives on in contemporary culture through its persistent ubiquity.
Many photographs capture Elvis Presley’s likeness on merchandise alongside that of other tragic famous figures, such as Princess Diana or Marilyn Monroe; others show Elvis merchandise presented in homes or shop windows, displayed like shrines; and some images capture the die-hard fans who wear Elvis’s image on a t-shirt, or have even made the commitment to having his portrait tattooed. Continue reading.
by Dot Bunn
Today was the first of a four-day oil painting demonstration lasting two hours each session. For the next three Tuesday, I will be painting the still life shown above. I arranged, lighted and set up this still life in my studio. The digital reference image is a picture I took with my Olympus Pen Camera. I then manipulate the image in Photoshop Elements to enhance the image. Two full-size drawings were made, and the final one was transferred to the foundation of the painting. Each drawing refined and formalized the image. I am not copying the photo as is but referencing it for form and a suggestion of color. Continue reading.
by Dot Bunn
My first step is to knock off any thick pieces of paint with a palette knife so that the surface is smooth. My colors are laid out the same as in session one. The painting had been drying for a week, so I needed to oil out with a very light coat of linseed oil to bring up all the colors to look wet. I added color to the glaze using Sinopia and Indian Yellow (an addition to the original hues chosen although it is a Yellow/Orange). Both are pure transparent.
This will allow me to mix the two for a warm tone over the whole painting giving it a deeper and warmer overall effect. I then wipe away any glaze that I feel has darkened the underpainting too much. I still avoid over lightening with white, and I keep the colors as vibrant as possible. Continue reading.