Photography

Fan Mail: Laura Stevens

Laura Stevens. Sofia from the series Another November, 2014; archival giclée pigment print; 60 x 90 cm. Courtesy of the Artist.

Laura Stevens is a photographer whose work blends the elegance of the cinematic with the erudition of the documentary. She shoots her subjects—most often a number of single female figures—in series that detail an engaging range of emotional and psychological states. The action in these images takes place in similarly evocative and highly staged domestic settings: an antique and ornately wallpapered hotel room, a subject’s[…..]

AnnieLaurie Erickson: Data Shadows at Carroll Gallery

AnnieLaurie Erickson. Local Server Series, 2014; installation view, Data Shadows, 2014. Courtesy of AnnieLaurie Erickson and Tulane University. Photo: AnnieLaurie Erickson

Photographer AnnieLaurie Erickson has spent a lot of time lately being watched by law enforcement. In her recent trip this year to Oklahoma, she stood on public property, taking photographs while security guards, local officers, and state police looked on. One might ask, what has she been photographing that requires so much surveillance? The answer is: big data centers throughout the Southern United States, the[…..]

Issei Suda: Life in Flower 1971–1977 at Miyako Yoshinaga

Oume 1977

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Bansie Vasvani reviews Issei Suda: Life in Flower 1971–1977 at Miyako Yoshinaga in New York City. Using a medium-format camera, Issei Suda’s square-shaped black-and-white[…..]

From the Archives – The Culture of the Copy

IW-1

Today from the archives, we bring you an early #Hashtags column on images, photography, and the movement from two dimensions to three. Though this post was originally published on January 24, 2012, the distinction between “real” and “unreal” continue to be germane to both contemporary art and everyday culture. “Cameras are the antidote and the disease, a means of appropriating reality and of making it[…..]

Wynne Neilly: Female to “Male” at Ryerson Image Centre

Wynne Neilly. January 24th 2014-24th Shot, 2014; Fuji Instax Film; 4 ¼ x 3 ¼ in. Courtesy of the Artist and Ryerson Image Centre. Photo: Wynne Neilly.

Shotgun Reviews are an open forum where we invite the international art community to contribute timely, short-format responses to an exhibition or event. If you are interested in submitting a Shotgun Review, please click this link for more information. In this Shotgun Review, Shauna Jean Doherty reviews Wynne Neilly: Female to “Male” at Ryerson Image Centre in Toronto. Through a collection of archival documents, personal photos,[…..]

Fan Mail: Matt Shallenberger

Matt Shallenberger. 2735 from the series False Pond, 2014; archival pigment print; 32 x 40 inches. Courtesy of the artist.

Matt Shallenberger approaches his photographic subjects—most often landscapes—as a cartographer approaches a new territory. As he discovers information by following the sight lines of mountains, rivers, boundaries, horizons, and the ever-changing position of the sun or the moon, he always takes into account the history and prior records of his subjects. While he works consistently with darkened, blissfully moody vistas, Shallenberger’s research into his subjects[…..]

The Part in the Story Where a Part Becomes a Part of Something Else at Witte de With

Ahmet Ögüt and Cevdet Erek. Ahmet Cevdet Bey: “Jacket”, 2011.

The Part in the Story Where a Part Becomes a Part of Something Else is an exhibition that covers a lot of ground. The Witte de With Center for Contemporary Art brings together over fifty artists with multifaceted disciplines, but despite the large scale, the show can be distilled to a few threads that highlight the potential for art to create constructed moments. This underlying[…..]