
Juan Luis Garcia "Cuba Y Cubans"
Opening Reception : Sat March 5, 2011 5-8 pm
Eastside Luv
1835 E. 1st St.
Los Angeles CA 90033
Hello Folks:
We have an Internship opportunity available in our West Hollywood office to work with staff and help us prepare for the Palm Springs Photo Festival: Connect 2011.
We are looking for bright, motivated, and dedicated interns that will be engaged in festival operations and logistics March 1st - March 25th. Interns must also be available during the entire week of the festival (March 26th – April 1st) and will serve key positions during the week of the event. Meals and lodging will be provided during the festival in Palm Springs.
The Palm Springs Photo Festival is an amazing event – one that requires a great number of people to make possible. Interns and Volunteers are a vital component to the success of the Palm Springs Photo Festival experience.
If interested please submit an application by Monday 3/28 if possible: http://connect.palmspringsphotofestival.com/info/volunteer-at-the-festival/
For more information about the internship opportunity please contact Lauren Devon - lauren@palmspringsphotofestival.com.
Himes and Swanson share resources from their forthcoming book and offer participants an in-depth overview of the publishing industry, from concept to editorial, design, production and on through the launching and marketing of your book.
We are proud to introduce f/9,
a Collective Photography Gallery
Join us for our opening exhibition
FIRST EXPOSURE
a group show featuring all 9 artists.
from 5pm until 9pm on Thursday, February 24, 2011
at our Culver City gallery. (directions are here)
The show will also be available for viewing
Saturday, February 26, from 12pm - 4pm and
Sunday, February 27, from 2pm to 5pm
Living in Detroit, you can easily grow numb to the things that seem remarkable to people who live elsewhere. With so many journalists and photographers parachuting in over the past few years, we have allowed outsiders to document these things and define them. Detroiters are, after all, used to all the abandoned shit. We drive past the grand ruins without a second thought. It can also be easy to avoid the parts of the city where these "feral houses" are because there is little reason to go there: nature is taking them over because nothing else wants to be there. It is often easier to just travel the web of depressed freeways than it is to drive through depressing neighborhoods. But I'll always prefer a side road I've never seen to a rut I've been in a thousand times. Seeing these feral houses is a part of our daily life in this city, and I feel compelled to document them. - James Griffioen
“I shot Brigitte Bardot several times on film sets. I love this shot of her smoking a cigar – it was taken in Spain. She was a stunning woman. I thought when I met her she would be this little bombshell but she was 5’9” and a really classy girl. I thought ‘people have really got you wrong.’”
At 1.3 billion acres, the Canadian Boreal Forest is one of the world’s largest intact eco-systems, providing a myriad of benefits. Perhaps the world's greatest and most effective carbon storehouse, the Boreal’s old growth trees are extremely effective at absorbing harmful greenhouse gasses and releasing life-giving oxygen into the atmosphere. The wetlands of the Boreal filter millions of gallons of water per day, and the forest still supports a natural food web that is home to many First Nations communities.
The Alberta Tar Sands in the heart of the Boreal Forest are both the largest proven oil reserves outside of Saudi Arabia and the single largest source of oil for the United States. The proposed expansion of the Tar Sands would cover a section of the Boreal the size of Florida, imperiling our fresh water supply and stripping bare much of this vital forest.
Photographer Garth Lenz has been documenting the Boreal Forest since 1992. His images reveal the present beauty of the region and the environmental impact now underway, suggesting alternative outcomes for our Boreal Future.
Inspired by the biopic The Fighter, Danielle Levitt travels to Lowell, MA to experience the nuanced dynamics that exist within a community as its individuals rise to fame.
My father and my grandfather were both photographic hobbyists. In the beginning I merely followed their lead. But for me my connection to the medium quickly grew deeper. Photography became a vehicle through which I could navigate and maintain a kind of control. I could order events, categorize friends and places…edit my world. Photography made everything around me look better. It made life clearer. As a boy I felt as though I had very little control over my life. Photography was an antidote. It was my escape. Now, as an adult and practicing artist, I make photographs for multiple reasons, but I’m sure, at my core, there is still this therapeutic/historic connection to the camera. - David Hilliard
When I started off in photography, I was trying to shoot pretty pictures of animals. It often left me feeling very empty, because of all the issues out there that weren’t being covered. What I’m trying to do now is show the readers of National Geographic and the world how fragile and endangered all these ecosystems are.
...
I definitely think that a single picture can tell a story. You can take a picture of two starving polar bear cubs with their mother on a little tiny ice floe. A polar bear dead on the ice. Sometimes it’s hard to bring everything together in one image—it’s easier with a collection. But the editors are always looking for one shot that says it all. Sometimes with a picture you’re doing the best you can to say as much as you can in one shot.
Much of Watanabe’s work in the past has focused on an intersection of the real with artifice, as explored through such photo subjects as Noh masks, Bunraku puppets, and traditional Japanese performing monkeys. Even Watanabe’s book Ideology in Paradise, shot in North Korea, can be seen in a similar way.
Here Watanabe turns his attention to the silicone “love dolls” that seem to have enjoyed a “boom” in popularity over the last few years — or is that boom more of Westerners fascination with yet another entry into the “weird Japan” sweepstakes?
Be that as it may, Love Point is not meant to be about the phenomenona itself but rather is a measured, considered book of portraits of models and dolls (created by the Japanese company 4woods) where it becomes very difficult to tell who is who — or what is who, perhaps I should say. The pictures become an authentic look at the lack of authenticity. (via)
The opening reception for an exhibition of work by Larry Fink, Alex Prager, and J Patrick Walsh III. Fink's photographs of the Obama family on the campaign trail capture transitory gestures and unexpected moments. Prager's dramatic, brightly colored tableaus of posed subjects have a staged, cinematic quality, with pregnant moments suggesting deep emotion. J Patrick Walsh III employs reclaimed wax from candles found in thrift stores in order to construct corporeal geometric sculptures.
This exhibition brings together three major bodies of work by Maya Goded work that is both reportage and profoundly personal. While critiquing the invisibility of women in contemporary Mexican society, the work also empathizes with its subjects, and even celebrates them, in these stark non-judgmental portraits. These are women who live their lives beneath the radar, unacknowledged and unprotected by the dominant culture. They are invisible women who exist in the shadows in Mexico, but emerge into the light through Goded's images. The prostitutes of La Merced, whom Goded identifies as being "On the Other Side," the disappeared women of Juarez ("Nobody Heard them Scream") and the curanderas and healers who are the witches of the north in "The Land of the Witches" comprise three bodies of work that, taken together, form a chronicle from a journey Goded took over a period of a decade.
To the person who stole the image of Dennis Hopper from THIS:los angeles on Friday night,
We have a feeling you have no idea what you’ve taken.
You’ve taken the one single physical document of the photographer’s time with his subject.
This is not a print, as there is no negative. There is only this single image.
You’ve taken our trust.
You’ve taken others faith in us.
You’ve impacted the way our business, that we have worked so hard to build,
will be able to work with people we respect and love in the future.
A business we do not make a profit from.
There is no way that this Polaroid will ever have the same worth to you that it holds for Jason, everyone at THIS, and to our community in general. As long as you have it all you hold is the sadness and anger that has been created by your taking it.
We personally believe you made a very snap and not very wise decision. It happens to all of us and all we can do is try to make it right. Many of us have done this. Please make this right. We are not interested in prosecution, we are not interested in the monetary worth as ultimately in the case of this image there actually really isn’t one.
We just want it back.
The show is called These Friends. It is our hand reaching out to our community, our friends and their friends and inviting them into the space we have created and we assume you were one of those people. There is a very good chance that you are a friend of someone who is a friend of the people who were involved in this show. Please do not steal from your friends. Even if you aren’t friends with any of the people in the show or at the gallery, our door was open, no questions asked, to meet and enjoy some really amazing works of art, by some really exciting and talented artists.
THIS is open for all of us to make new friends and come together as a community. We feel like we have succeeded in that 10 fold, especially with this last show. Everyone who we talk to says about how amazing of a night it was. It’s impossible for us to remember it that way because of this theft.
We opened our doors in hopes to meet new friends and new people in a new neighborhood and we have, we’ve met so many amazing people and had so many amazing times. It might not be possible for us to continue the way we have because of this theft.
All we ask is that you please give it back. Please please return the photo.
In conjunction with the Holga Inspire exhibition, a 3 week workshop at the Icon will take place. Sponsored by the Icon and Holga Inspire, a Holga camera will be available for the participants as well as many services at the Icon Photographic Lab. This workshop is intended to expand your photographic knowledge and includes a shooting assignment and a group critique of final prints. The workshop will be co-taught by Heather Rasmussen, (MFA Calarts, 2007) and Nina T. Becker (MFA UCIrvine, 2010). The class is limited to 15 people so please sign up early! To register or for more information visit: iconholga.eventbrite.com
“Abstract” the show’s theme, is an attempt to free the photographer of current working day assignments without the restrictions or pressure of creating images for profit. On display will be works from artists Bekka Melino, Carrie Camacho, Grace Oh, Janine Lim, Kerry Sawyers, Kyla Wright and Rosalinda Kooyman. Each of the featured photographers brings something unique to the table. Directly influenced by their diverse backgrounds and multi-career choices, their common denominators include a camera and their love for Los Angeles.
1. Submit a thematic body of work for exhibition consideration in one of our "host spaces". This submission process DOES NOT guarantee that you're work will be selected to exhibit during MOPLA. Eligible submissions will adhere to the following guidelines:
A. Artwork submitted must be framed and ready to exhibit.
B. Artwork submitted can belong to one photographer or a group of photographers
C. Artwork must be submitted no later than February 21, 2011.
2. Submit a thematic body of work for projection consideration. This submission process DOES NOT guarantee that you're work will be selected for projection during MOPLA. Eligible submissions will adhere to the following guidelines:
A. Artwork must have a consistent or relevant theme throughout the imagery, such as Portraits, Nightscapes, Landscapes, Nudes, Photojournalism, Music, Sports, etc.,
B. There must be a minimum of 40 images for consideration.
C. Artwork must be submitted no later than February 21, 2011.
Submit up to ten photographs to be considered for the 2011 MOPLA+SMASHBOX GROUP SHOW.
Simply complete the form below (required), upload one to ten images according to the provided specifications, pay the $10.00 submission fee and voila! Please submit only up to 10 images.
Open Submission Dates - February 1 through March 15.
Notification date - March 31
Artwork Delivery dates - April 18 - April 22
Although he was always the family shutterbug, it wasn't until the early 1950's that Frank's passion for photography blossomed. His weekend excursions around New York with his Rolleiflex camera produced thousands of images, which Frank developed and printed in his basement darkroom. Some he entered in local amateur photographic competitions where he won awards, but the majority of his work remained undiscovered until 2009 when his youngest son's widow found a box of negatives that had been packed away since Frank's death. Those negatives went on to become the images presented in "Reflections of New York" in honor of Frank's memory.