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Rinko Kawauchi: HaloAperture, 2017.


Book of the Week Book of the Week: A Pick by Laura M. André Laura M. André selects Halo by Rinko Kawauchi as Book of the Week.
Laura M. André selects Rinko Kawauchi's Halo  (Aperture, 2017) as Book of the Week.

Rinko Kawauchi's latest book, Halo, presents a poetic series of images taken mostly in darkness: from the smoky blues, pinks, and grays of dusk to the inkiest nights. But as the title suggests, light — and her attraction to it — remains Kawauchi's favorite subject.

But this is no mere formalist investigation of light. Throughout the book, which presents imagery from three different series, Kawauchi challenges readers to connect her work, which is undeniably compelling visually, to contemporary social and economic issues.

The book's most dazzling images, which inspire a cover design of holographic indentations amid a field of black, depict dazzling showers of molten iron, flung in the air as part of a centuries-old Chinese New Year's ritual in Hebei province. As Kawauchi reveals in her brief text, these "poor man's" fireworks represent both celebration and struggle: "For those who live in poverty, every day is a battle in its own way--perhaps it's only natural that this ritual reminds one of a struggle."

The flocks of migratory birds that soar through the book's matte black pages thus not only perform a glorious dance in which smaller flocks join together to form an enormous swarm that appears as a single, shadowy organism; they also serve as metaphors for individuals and society. The whole is greater than the parts.

Finally, Kawauchi includes a number of photographs taken in Japan's southern Izumo region, site of the country's oldest Shinto shrine, where traditional beliefs hold that the gods congregate during the tenth month of the Lunar calendar. A concurrent festival gathers worshippers on the beach to welcome the gods. During Kawauchi's visit to this festival, she photographed beach bonfires in a light rain, which echoes the rain of molten iron in other images. She clicks the shutter and "the lights strobe and refract against the raindrops, and they glitter. The thoughts of the people in prayer, invisible to the human eye, too, take form and reflect in the drops."

Like halos, Kawauchi's images are magical signs of transformation and divinity in the form of glimmering light.  — Laura M. André

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Rinko Kawauchi: HaloAperture, 2017.

Rinko Kawauchi: HaloAperture, 2017.

Laura M. André
earned a PhD in art history from the University of North Carolina at Chapel Hill and taught photo history at the University of New Mexico before leaving academia to work with photography books. She is the manager of photo-eye's bookstore.


Book Review Passage By Linda Foard Roberts Reviewed by David Ondrik Passage is an elegiac portrait of the artist’s family, infused with an open, tender love seen through flesh, cherished objects, and landscape. The care and attention required to use a large format film camera is evident — this is the product of labor and craft combined with a deep connection to what’s being photographed.

Passage. By Linda Foard Roberts.Radius Books, 2016.
 
Passage
Reviewed by David Ondrik

Passage.
Photographs by Linda Foard Roberts. Text by Billy Collins, Russell Lord, and Deborah Willis.
Radius Books, Santa Fe, USA, 2016. 176 pp., 80 black-and-white illustrations, 10x12".  

If you enjoy Pictorialism, the 19th century movement of soft focused photographs concerned more with emotion and mood than representation, Linda Foard Roberts’s debut monograph Passage will be deeply satisfying. The book is a hefty 10” x 12” with 80 nuanced, warm-tone reproductions of Roberts’s black and white gelatin silver prints. It opens with a brief statement by Roberts, followed by eminently readable essays by Russell Lord and Dr. Deborah Willis.

Passage is an elegiac portrait of the artist’s family, infused with an open, tender love seen through flesh, cherished objects, and landscape. The care and attention required to use a large format film camera is evident — this is the product of labor and craft combined with a deep connection to what’s being photographed. Each of the five sections (Passage, Grounded, Simple Truths, Alchemy, and Becoming) is introduced by thick, textured paper embossed with Roman numerals. Immediately following each embossed page is a photograph on translucent vellum that overlays the image on the next page. This veiled, double exposure effect is a thoughtful accent that enhances the tactile interaction of turning through the pages. It shows an attention to the possibilities of the book as an interactive object, rather than a “pocket gallery” of photographs. There are short introductory statements from the artist that set the tone for each section.

Passage. By Linda Foard Roberts.Radius Books, 2016.

The quality of the images, and their reproductions, is immediately seductive and enhanced by expert sequencing and book design. On pages 30 and 31 are facing images, Soulmate Moths and My Mother’s Grace, one is of two dead moths and the other is of the artist’s mother’s hands. Tonally the images echo each other — the dead moths are light patches against a dark ground, while the hands are stark against a similarly dark ground. There’s also a wistful conceptual entwining — the moths have worn out and perished, while the mother’s elderly, worn hands imply inevitable mortality.

Passage. By Linda Foard Roberts.Radius Books, 2016.

While there’s a melancholy tone to most of the images in this book, there are some notable departures, like A Measure of Time, Both Thirteen Years Old. This portrait of the artist’s 13-year-old son leaning against a 13-year-old tree, presumably planted on the occasion of his birth, illustrates the connection the mother has to the child as well as the landscape she’s created at home. The motion blur of the swaying leaves obscures the young man’s face and works as a metaphor for his impending transition from childhood to adolescence. The tree is a sturdy support, a reminder that, despite the impending changes and chaos of growing up, there will quite literally be a foundation to lean against.

Passage. By Linda Foard Roberts.Radius Books, 2016.

One somewhat jarring element is the fold-out page of four photographs of a tree on the artist’s property, each taken during different seasons and constructed with multiple negatives. While I sympathize with the problems unusual image dimensions mean for books, the fold-out is an awkward solution that diminishes the photos by creasing them. Also, the dust jacket feels thin, like ordinary copy paper, which is a surprise considering the high quality of materials and printing in the rest of the book. Under the jacket is a wonderful, white cover with a tipped in image of a gnarled and ancient oak.

Passage. By Linda Foard Roberts.Radius Books, 2016.

Passage is a real find for fans of “old fashioned” photographic imagery. I’d not been familiar with Roberts's photography before the book came my way, and I’m really pleased that it did. It’s an excellent retrospective of her career, and an exquisite object that book lovers are sure to enjoy. — David Ondrik

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DAVID ONDRIK is an artist working with light sensitive media. He has an MFA from Indiana University and is currently a visiting assistant professor of photography at IU. His website is  https://davidondrik.com/.


photo-eye Gallery Series Release -2017 Storms by Mitch Dobrowner photo-eye Gallery is excited to debut 11 new works by represented artist Mitch Dobrowner in his acclaimed STORMS series.

Lightning Storm and Homestead, 2017 – © Mitch Dobrowner
photo-eye Gallery is proud to debut 11 new works by represented artist Mitch Dobrowner in his acclaimed series STORMS. In 2009, inspired in part by his 2008 image Shiprock Storm, Mitch Dobrowner set out in the company of professional storm chasers to capture some of mother nature’s most sublime performances. For Mitch, each storm is unique and inspiring and through it all, he retains a sense of reverence and respect for the natural world.

The first 11 images in the portfolio are from the 2017 release.

Prints from the 2017 STORMS release are currently available at their introductory prices:

14 x 20 inches 
Collective Edition of 40
$1,500 

20 x 30 inches
Collective Edition of 40
$2,500

34 x 56 inches
Separate Edition of 5
$5,000

For up-to-date pricing, additional information, and to purchase prints, please contact Gallery Staff at 505-988-5152 x 202 or gallery@photoeye.com

Many of the new works will be on view in Tempest, an exhibition of recent and classic black-and-white prints from the STORMS series, Opening Friday, September 15th with an Artist Reception for Dobrowner from 5–7pm. Mitch Dobrowner will also join us for a Gallery Talk to discuss his ongoing STORMS project on Saturday, Sept. 16th at 4 pm. 

Helix and Trees, 2017 – © Mitch Dobrowner
Monsoon and Storm Over Town, 2017 – © Mitch Dobrowner
Dome Rock, 2017 – © Mitch Dobrowner
Rainshafts, 2017 – © Mitch Dobrowner
Raven Rock, 2017 – © Mitch Dobrowner
Saguaro and Storm, 2017 – © Mitch Dobrowner
Storm, Field, and Trees, 2017 – © Mitch Dobrowner
Tornado Over Farmland, 2017 – © Mitch Dobrowner
Zodiac, 2017 – © Mitch Dobrowner
Nimbus, 2017 – © Mitch Dobrowner
Mitch Dobrowner’s photographs have been exhibited internationally at venues including the Somerset House in London, England, the GADCOLLECTION in Paris, France, and EXPO Chicago. Dobrowner’s images also appear in several notable collections, including The Museum of Fine Arts: Houston, The Portland Museum of Art, the Santa Barbara Museum of Art, and the Cleveland Museum of Art. Furthermore, Mitch Dobrowner has been awarded First Place at PX3, First Place at IPA/Lucie, earned the Joseph Riis Award and has been named to the Photolucida Critical Mass Top 50 three times. His work has been published in National Geographic, B&W magazine, TIME, and his sold-out monograph Storms was published by Aperture in 2013.

» Read the Tempest Press Release

» View the Tempest Portfolio

» Read more about Mitch Dobrowner

» Contact the Gallery

Book of the Week Book of the Week: A Pick by Forrest Soper Forrest Soper selects The Voyeur's Gambit by Christian Michael Filardo and Angelo Harmsworth as Book of the Week.
The Voyeur's Gambit
By Christian Michael Filardo and Angelo Harmsworth
Lime Lodge, 2017.
Forrest Soper selects The Voyeur's Gambit by Christian Michael Filardo and Angelo Harmsworth from Lime Lodge as Book of the Week.

"The Voyeur’s Gambit is a collaborative project between Christian Michael Filardo and Angelo Harmsworth. Housed in an opaque black plastic envelope, thirty of Filardo’s photographs are paired alongside 5 of Harmsworth’s musical numbers. The photographs are individual prints — hole punched in the corner and bound with a ring clip. The music is housed on a custom laser engraved USB. While the production is minimalistic, the impact that The Voyeur’s Gambit leaves is great.

Less a traditional book than it is an art object; The Voyeur’s Gambit rejects the notion of a set photographic sequence. Photographs and songs alike are experienced in a loop, a loop that can easily have its components re-arranged and altered. Images become disconnected memories — all inter-related — yet still individual fragments of a larger dream. Time becomes cyclical as Harmsworth’s ambient compositions become a timeless melancholy soundtrack. This book invites viewers to become lost in time and engrossed in a stranger’s memories.

While the abolishment of a set photographic sequence is something to be admired while viewing this publication, the images themselves bring the work to life. The images seem to have an air of haunting stillness to them. A surreal tone lies underneath every print. Drones fly over cactuses and shredded blue plastic clings to barbed wire. This book is incredibly personal, yet very nondescript. A melancholy poem presents scattered fragments of life, without ever fully connecting the dots between them — instead, letting the viewer find their own meaning as they cycle through the images.

Untimely, The Voyeur’s Gambit is a transformative object. Each viewing of the piece will resonate differently and have a unique impact. Whether you choose to quickly cycle through the images, get lost in the ambient soundtrack, or spend hours recreating your own photographic sequence, this small book is sure to engage and captivate." — Forrest Soper

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The Voyeur's GambitBy Christian Michael Filardo and Angelo HarmsworthLime Lodge, 2017.

The Voyeur's GambitBy Christian Michael Filardo and Angelo HarmsworthLime Lodge, 2017.



Forrest Soper is a photographer and artist based out of Santa Fe, New Mexico. A graduate of the Santa Fe University of Art and Design, he also has previously worked at Bostick & Sullivan. Forrest is the Editor of photo-eye Blog.
http://forrestsoper.com/


Book Review Pictures from Home By Larry Sultan Reviewed by Blake Andrews Sultan once described his work as "taking the construction of the domestic and looking at it as a theatrical subject." Not only is he aware that his photographs involve a degree of artifice; he uses it to his advantage.
Pictures from Home Photographs by Larry Sultan. Mack, 2017. 
 
Pictures from Home
Reviewed by Blake Andrews.

Pictures from Home.
Photographs by Larry Sultan.
Mack, London, England, 2017. 264 pp., 140 color illustrations, 9x10¾".  


A quarter century has passed since Larry Sultan's Pictures from Home was published in 1992, plenty of time for its photographs to seep into the canon. Most fine art photographers, including myself, have absorbed them by now. Close your eyes and concentrate, and I bet you can probably bring any of several to mind. The photograph of Sultan's mother leaning against a green wall, his father watching a Dodgers game nearby, for example. Or the shot of his father practicing his statuesque golf swing indoors. Or the eerie photo of his mother holding a buttered turkey behind a dimly lit screen door. For twenty-five years these images have represented the gold standard not just of family photography, but color documentary work in general.

The original edition of Pictures from Home has fallen out of print and a used copy will now set you back a few hundred dollars. I've never seen it in person. Still, I'd foolishly persisted in forming a mental image of the book. I imagined it might be like other fine photo books of the era featuring nice color photographs, perhaps one or two per page, spiced up with some text. Maybe there was a foreword by a respected critic. It was a photobook, and the photos would take center stage.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

This is the book I'd been expecting when Mack's newly revised and expanded edition arrived. But after just a few minutes with the book, it became apparent that it wasn't this at all. Pictures From Home isn't a collection of photographs. Or rather, it isn't only that. Instead, it's a general account of middle-class domestic life in post-war America. Sultan's photos play a supporting role, but a good chunk of the book is comprised of text, not images. These written accounts — verbatim transcriptions mostly — muse on a range of topics including portrait photography, self-analysis, office politics, retirement, and more. Throw in a healthy dose of old home movie snippets, memorabilia, snapshots, and you've got Pictures from Home. The part that I'd imagined might be most prominent — Sultan's photos, you remember, which had seeped into my brain as well as the canon— come in small scattered bursts, two photos here, another four there, spicing up the book but never dominating. So my initial encounter was a surprise, but after it had quickly worn off I found myself sucked into the Sultans' story, as captivating as any good novel.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

Pictures from Home tells the story of Sultan's parents, Irving and Jean, as they follow the American Dream. Although the text is written from a first-person perspective, it speaks in three separate voices —unlabeled yet easily distinguished. Perhaps this is a nod to Faulkner, as authorship alternates between Irving, Jean, and Larry. In interview excerpts, we read about Jean and Irving's courtship, marriage, religion, family, career, and migration to the promised land of California's San Fernando Valley. Considering Larry Sultan's eloquence — Alec Soth once stated "Has there ever been a photographer who writes better than Sultan?" — I suppose it's no surprise he comes from articulate stock. His parents are exceptionally candid and self-aware. When taken in combination with historical ephemera, their written narrative describes their family history better than any scrapbook or journal. The reader feels a level of intimacy, which is slightly discomfiting.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

Larry grows up a well-adjusted boomer, goes to art school, and eventually returns to photograph his parents in the 1980s. By this time the Sultans are empty nesters, aging into their golden years in a suburban home still boasting chintzy ‘60s decor and beautifully landscaped patio. His old digs create an ideal, verdant backdrop for the theatrical version of his parents he hopes to photograph. The Hollywood director in Larry comes out as he stages his parents amid various suburban tableaux.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

Some of Sultan's photographic ideas: Dad looking like Johnny Carson, Walking the dog at night, Mom opening up curtain, Shaking hands, etc. These are from a list included in the book, most of which he seems to have been checked off. No matter the photo, Sultan imbues his scenes with a quiet sense of ironic detachment. Irving and Jean are the only subjects; their private settings the only backgrounds. Like any good baby boomer, Sultan has found the soft underbelly of his elders — and poked it hard.

It helps that Sultan’s parents are straight out of Greatest Generation central casting. His father wears a polo shirt or dinner jacket like a second skin; his mother more comfortable in disco/leisure outfits. Both boast magazine-ad hairstyles and blank expressions. To learn that Irving Sultan was a razor company executive who studied Dale Carnegie, and Jean was a successful realtor who almost defies credulity.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

Sultan once described his work as "taking the construction of the domestic and looking at it as a theatrical subject." Not only is he aware that his photographs involve a degree of artifice; he uses it to his advantage. In interviews with his parents, he presses the topic of photography. How do they like being photographed? What do they think of his portraits? What are their ideas about his project, or his art career, or their relationship? Irving and Jean speak openly on all these topics alongside Larry himself, all transcribed candidly. Their comments are remarkable, revelatory, and honest. Gregory Halpern nails it: "One of the most incredible things about Pictures from Home is how vulnerable Sultan allows himself to be in the text, in which he confronts insecurities about himself and his work, brilliantly deconstructing the project and the challenges of making it."

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

A good example is Jean's reaction to Larry's real estate portrait. Rarely has the dichotomy between art and commercial requirements been so simply galvanized. Jean wants a smiling bestseller, but instead, Larry gives her a bland mugshot. It embarrasses her so much she won't tell her friends who took it, a reaction that would give most photographers pause. But Larry Sultan not only embraces it, he incorporates it seamlessly into her story. She writes about the picture, he comments on her thoughts, and so on. Similar disagreements arise throughout the text, and he calmly records them all, making Pictures from Home a master class in photo ethics.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.


From what I can tell, the Mack version is very similar to the original with a few exceptions. Mack mentions that "the Super-8 film stills have been newly digitized and magnified, with select scenes running full-bleed across double-page spreads." There are some other noticeable differences. The cover photo is now uncropped. The book's exterior has been kept green as an homage to Sultan's emerald palette, and the dimensions are roughly the same size as before. But the whole enterprise has been twisted ninety degrees from landscape to vertical format, giving the interior photos a wider berth. The gatefolds of the earlier edition have been removed, and the page count boosted by more than half, from 128 to 196 pages. The strange, ‘80s computer-style typeface is unchanged. Perhaps there are other changes, but let's just say the 2017 edition leaves nothing wanting.

Pictures from Home Photographs by Larry Sultan. Mack, 2017.

Pictures from Home made a splash when it came out. It was universally praised, solidified Sultan as a superstar, and was later canonized in Martin Parr and Gerry Badger’s The Photobook: A History, Volume 2. I'm happy to say that all the hype is justified. It's a dynamite book, and the new edition has only burnished its legacy. Hopefully, this one will remain in print for a while. — Blake Andrews

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BLAKE ANDREWS is a photographer based in Eugene, OR. He writes about photography at blakeandrews.blogspot.com.

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photo-eye Gallery Upcoming Exhibition:
Mitch Dobrowner – Tempest
photo-eye Gallery is proud to announce Tempest an exhibition of recent black-and-white storm photographs from represented artist Mitch Dobrowner – including the debut of several NEW images in the acclaimed series. Tempest opens Friday, Sept 15th with an Artist Reception from 5–7 pm and continues through Nov 11th, 2017.

 
Mitch Dobrowner
Tempest

Opening & Artist Reception
Friday, Sept 15, 5–7 pm

Artist Talk
Saturday, Sept 16, 4 pm

On View: Sept 15 – Nov 11, 2017

ABOUT THE EXHIBITION
photo-eye Gallery is proud to announce Tempest an exhibition of recent black-and-white storm photographs from represented artist Mitch Dobrowner – including the debut of several NEW images in the acclaimed series. Tempest opens Friday, Sept 15th with an Artist Reception from 5–7 pm and continues through Nov 11th, 2017. Mitch Dobrowner will give an Artist Talk at the Gallery on Saturday, Sept 16 beginning at 4 pm.

ABOUT THE ARTWORK
For nearly a decade, Mitch Dobrowner has ventured out with professional storm chasers into the American heartland photographing the energy of a wondrous and sometimes perilous planet. Storms themselves are inherently paradoxical, representing both significant disruption and necessary recharge to the environment in a single event, and Dobrowner’s images often feel sublime as we witness torrential rain dropped by a 50,000ft helix, mile-high tornados, and bolts of lightning from the comfort of the gallery floor. These dualities are central to the series.

While photographing, Dobrowner keeps the words of Edward Abbey as a kind of mantra: “Our job is to record, each in his own way, this world of light and shadow and time that will never come again exactly as it is today.” A modern master printer, Dobrowner’s work is well seated as a contemporary member in a long and honored line of American landscape photographers.

ABOUT THE ARTIST
Mitch Dobrowner’s photographs have been exhibited internationally at venues including the Somerset House in London, England, the GADCOLLECTION in Paris, France, and EXPO Chicago. Dobrowner’s images also appear in several notable collections, including The Museum of Fine Arts: Houston, The Portland Museum of Art, the Santa Barbara Museum of Art, and the Cleveland Museum of Art. Furthermore, Mitch Dobrowner has been awarded First Place at PX3, First Place at IPA/Lucie, earned the Joseph Riis Award and has been named to the Photolucida Critical Mass Top 50 three times. His work has been published in National Geographic, B&W magazine, TIME, and his sold-out monograph Storms was published by Aperture in 2013.


For more information, and to purchase prints, please contact Gallery Staff at 
505-988-5152 x 202 or gallery@photoye.com


Book Review Nothing's in Vain By Emmanuelle Andrianjafy Reviewed by Karen Jenkins “The opening sequence of Nothing’s in Vain reflects that feeling of a tentative, catch-as-catch-can initial approach, while also laying out the collection’s overarching themes. The cover photograph of a wall of rock rising from the ocean, solid and impenetrable, yields to blurry first impressions of Dakar’s natural forms, architecture and inhabitants."
Nothing's in Vain 
By Emmanuelle Andrianjafy. Mack, 2017.
 
Nothing's in Vain
Reviewed by Karen Jenkins

Nothing's in Vain.
Photographs by Emmanuelle Andrianjafy.
Mack, London, United Kingdom, 2017. 112 pp., 54 four-color and 20 duotone illustrations, 8¼x11".  

Much lamentation has been offered on the kind of tourist photography driven by a checklist of “must sees” and a tunnel vision approach that so often negates the in-the-moment experience and opportunity for discovery. But this impulse to hone in on the recognizable is also an understandable reaction to “newness” and can help to establish a starting point or guiding parameters for exploration. When it’s not just about grabbing the visual souvenir, the camera can offer a way to cope with the vast unfamiliarity that can mark travel or relocation. By providing a literal framework and for some a certain remove, the act of photographing can be both reassuring and transformative. In 2011, Emmanuelle Andrianjafy made a new home in Dakar, Senegal, a move prompted by her husband’s work. She expected that her upbringing in Madagascar and years spent living in France would have eased the transition to this coastal capital (once part of the French colonial empire); instead, she found it jarring and disorienting. Within two years, Andrianjafy took up photography as a way of finding her way clear.

Nothing's in Vain. By Emmanuelle Andrianjafy. Mack, 2017.
Nothing's in Vain. By Emmanuelle Andrianjafy. Mack, 2017.

In a companion essay for Andrianjafy’s entrancing debut publication, Nothing’s in Vain, Emilie Øyen, an American writer living in Dakar, describes her own unfolding experience of the city, beginning with her approach by taxi. “I pushed through a daily, alien landscape that was not my life, but a constant theater to observe,” she writes. Many of Andrianjafy’s first photographs were also shot from the window of a moving car. In words and images, both women offer a reminder that for those keen on catching the moving spectacle from a safe distance, such forms of transportation can serve as a buffer, while also framing the view. The opening sequence of Nothing’s in Vain reflects that feeling of a tentative, catch-as-catch-can initial approach, while also laying out the collection’s overarching themes. The cover photograph of a wall of rock rising from the ocean, solid and impenetrable, yields to blurry first impressions of Dakar’s natural forms, architecture and inhabitants. One shot depicts a seated man awash in an amber stain of heat and suspended animation. The bloody gash of a fish’s gut is both close-up details and scarred landscape. The natural world of trees and grass sandwich an expanse of bland white wall; a splintered crack the only blemish to its solid surface.

Nothing's in Vain. By Emmanuelle Andrianjafy. Mack, 2017.
Nothing's in Vain. By Emmanuelle Andrianjafy. Mack, 2017.

Andrianjafy’s first images of Dakar were in black and white, but as color joins the mix, her approach becomes less mediated. Her street scenes, portraits and views of architecture, and nature form a rich mélange of color, texture, and shifts in scale and perspective. A changing urban environment is marked in ways both subtle and discordant, as she notes the turnover from old to new, building up and tearing down. Some structures feel organic to the environment in their worn surfaces and layered steadfastness, while others stand out in their soulless artifice. Recurring images of litter and debris underscore what is being discarded on a grander scale. The intersection of natural and man-made environments manifests where Astroturf heaps on top of growing grass and weeds force their way through concrete as nature finds a way and holds its ground. Where her gaze turns to people, Andrianjafy has created portraits of fellow residents that are unforced and direct, as well as idiosyncratic alternatives to her photographs of the region’s opaque leaders and figureheads, broadcast in posters and TV screens.

Nothing's in Vain. By Emmanuelle Andrianjafy. Mack, 2017.
Nothing's in Vain. By Emmanuelle Andrianjafy. Mack, 2017.

As a keepsake of Andrianjafy’s quest to find her way in a dazzlingly new place, Nothing’s in Vain powerfully conjures her emotional, sensual and intellectual experiences, without ever completing a sentence or closing the book on what Dakar is or will be for her. Andrianjafy’s photographs have become her own deeply personal touchstones of recognition and deeper acquaintance that will resonate with those of us already in thrall to the medium’s powers. So much of her imagery will continue to draw me in. — Karen Jenkins

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KAREN JENKINS earned a Master's degree in Art History, specializing in the History of Photography from the University of Arizona. She has held curatorial positions at the Center for Creative Photography in Tucson, AZ and the Demuth Museum in Lancaster, PA. Most recently she helped to debut a new arts project, Art in the Open Philadelphia, that challenges contemporary artists to reimagine the tradition of creating works of art en plein air for the 21st century.


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photo-eye Gallery New Work – Tom Chambers: Still Beating photo-eye Gallery is proud to introduce Still Beating the newest series of photomontages by represented artist Tom Chambers. Based on dreams and musings, Chambers' work sits firmly in the expressive genre of magic realism, and Still Beating focuses on the vitality of life under threat and the contrast between bodily fragility and emotional fortitude.

Fire and Ice, 2017 – © Tom Chambers, Archival Pigment Print, 20 x 20 inches
photo-eye Gallery is proud to introduce Still Beating the newest series of photomontages by represented artist Tom Chambers. For over twenty years now, Chambers has been crafting affecting single setting narratives where the fantastic mingles with the plausible to create compelling meaningful images. Based on dreams and musings, Chambers' work sits firmly in the expressive genre of magic realism, and Still Beating focuses on the vitality of life under threat and the contrast between bodily fragility and emotional fortitude. Gallery Director Anne Kelly spoke with Tom and asked him to share some additional detail about his process, the creation of one of Still Beating's signature images, and what's next for the photographer.

Hidden Aviary, 2017 – ©Tom Chambers, Archival Pigment Print, 20 x 20 inches

Anne Kelly:
     Can you tell us a little about Still Beating; what were you thinking about while making the series?

Tom Chambers:     Since I began creating photomontage, storytelling has been part of all my series and something that has engaged the viewer. My hope has been that the viewer will look at my images, each of which contains an unfinished story, and then create his own interpretation of what's seen. As I began working on the Still Beating series, I wanted to strengthen the narrative in each of my images, while continuing to leave the meaning of the stories up to each individual viewer. What in the world is going on in Hidden Aviary with the young girl covered in leaves and playing with birds? In Fire and Ice, how did that innocent child dressed in summery clothing collect wood on a beach littered with ice? Some of these things are not quite right.

Magic realism has been a tool for me to create a strong narrative. I use magic realism to peak viewer's interests compelling them to take a second look because something looks different or improbable, and in Still Beating I use magic realism to enhance the narrative about the challenge of survival. No Glory in Regret pictures a young girl stroking a bird with a bow and arrow next to her in the grass. What will happen to the bird and the child? There don¹t have to be answers to these questions. I really just want to raise questions in the viewer's mind.

No Glory in Regret, 2017 – ©Tom Chambers, Archival Pigment Print, 20 x 20 inches

AK:     You have been creating photomontages for about twenty years now; how has your process changed or evolved over that time?

TC:     Although I had my first exhibition 20 years ago, I started working with digital images when Photoshop was first released around 1990.  Early on, I was shooting with a Minolta 35mm film camera and scanning those transparencies with a film scanner, and it didn’t take me too long to realize that a medium format camera would be necessary for output to 20” prints.  So, in 2004 I switched to a Mamiya 645 film camera and was able to print much larger.  In 2007 I felt that digital cameras had advanced to the stage where the image quality was close to that of film.  Not only that, but film and scanning costs were very hindering, so at that point, I started shooting with a Nikon D300 and later switched to a D800.  I have also learned that image quality is very dependent on a sharp lens, and more recently have invested in multiple quality lenses.

Photoshop software has also evolved in a major way since I first began experimenting with the software.  In the early days, there was no such thing as using layers for the different elements.  After layers for elements became available, the ability to work with adjustment layers was introduced, which meant you could independently modify each element of the constructed image.

In terms of how I plan my images, I’ve always worked the same way. I typically do a thumbnail sketch of an idea and use that as a guide to shoot the separate elements. Although I often use images photographed while traveling as backgrounds for my photomontage, the elements typically are shot near my home, either outdoors or in a studio.

Where Salt Meets Sky, 2017 – ©Tom Chambers, Archival Pigment Print, 20 x 20 inches

AK:     We see a lot of birds in your work; do they mean anything in particular to you?

TC:     To me, a bird symbolizes the expression of freedom.  Many viewers easily connect to birds. And quite honestly, who doesn’t love birds?  When birds are portrayed as being caught or restrained, it sometimes throws the viewer off balance or makes him uncomfortable.  My goal is to help the viewer to emotionally connect with the image and to draw the viewer into the image.

Garden Gate, 2017 – ©Tom Chambers, Archival Pigment Print, 20 x 20 inches

AK:     Please choose an image from Still Beating and detail how it was made or what it means to you?

TC:     In making the image Garden Gate, I traveled to Portugal two years ago and had the opportunity to explore the Convent of the Capuchos.  This ancient convent is set in a very rural area and upon entering you cross under a low stone arch which symbolizes leaving the material world and entering the spiritual. Trees are thick within the convent grounds and the stone buildings are covered with moss and lichens. I believe we were the only people there. I could visualize animals coming through the area during the late hours and I decided to illustrate that idea by using a deer walking down a set of steps to an open gate. The deer itself draws interest to the image, but the addition of the boy partially hidden behind the open gate gives it a narrative.

Come What Is, 2017 – ©Tom Chambers, Archival Pigment Print, 20 x 20 inches
AK:     We've heard rumors of a new forthcoming book; are you able to share any information about the project with us?

TC:     Several months ago, I was surprised and honored to be contacted by a representative of the Unicorn Publishing Group (London) who expressed interest in publishing a retrospective book of my work.  The production of the book has started and the release is scheduled for Fall 2018. The is book entitled Hearts & Bones will be 208 pages in length and include my nine photo series.


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Entropic Kingdom by Tom Chambers
ModernBook, 2012
Archival Pigment Prints from Still Beating are available in limited editions in various sizes. Please inquire with Gallery Staff at 505-988-5152 x 202 or gallery@photoeye.com for more information, and to purchase prints. 


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