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photo-eye Gallery New Work from Tom Chambers Delaney Hoffman
photo-eye Gallery presents new works from represented artist Tom Chambers.

Tom Chambers, Tangled Up in Blue, 2021, Archival pigment print, 14x14," Edition of 20, $750

Photography is no stranger to poetic thought, as it applies to both the abstract and the narrative. Poetry has given us the epic as well as the haiku, and an image can hold its meaning in much of the same way; if I were to make equivocations (which seem unfair but are helpful) I would liken the haiku to the formalism of Minor White or Robert Adams, of the small, beautiful moments meticulously recorded. The epic, however, belongs to the realm of photomontage, of construction and manipulation; this is the realm of Tom Chambers and his whimsical photographs that are highly influenced by the world of painting.

Chambers’ images are a practice in allegorical assemblage. Seeing these new images, specifically, I was taken by the symbol of the blue rope that appears in both the featured image, Tangled Up in Blue and in Azure Impasse, seen below:

Tom Chambers, Azure Impasse, 2021, Archival pigment print

In both images, a blue rope appears from a source outside of the frame. The primary characters in each image appear to be stuck, they are bound, presumably by forces outside of themselves; I am left to wonder whether the woman in Tangled Up in Blue has allowed herself to be captured, or if the pale yellow ram in Azure Impasse is taking advantage of a foe who has lost the capability to flee. Despite my pessimistic initial readings of each image, the strength of Chambers’ cross-cultural symbolic usage still leaves me plenty of room to reassemble those meanings.


What does it mean that the rope is blue? And what does it mean that we don’t know where it goes?

Tom Chambers’ work is rooted in magical realism and a spirit of surreal play, a style that has served the artist well throughout his career. The inherent strangeness in this work can’t help but to remind me of a beautiful quote from poet and art critic Bill Berkson, though written in regards to poetry, can apply to the poetic or allegorical image as well.

At first, the strangeness was framed as a language — spoken or written [or seen] — that is beautiful, even though I don’t really know what it’s about; I don’t know what it means, or what it’s for. Then it became an attractive proposition, that it is not for anything: it’s just there to be assembled and reassembled, and out of that assembling you feel a connection with the words [or the image], for the way [the disparate elements] are put together, that seems to ring bells, and that one can give back out as something everyone knows as both strange and real. 

— Bill Berkson

Tom Chambers work rings bells, and if you’d like to hear more of them, view more below and check out the full portfolio on our website, here

Tom Chambers, Wildfire, 2021, Archival pigment print, 14x14," Edition of 20, $750



Tom Chambers, Sweet Nectar, 2021, Archival pigment print, 14x14," Edition of 20, $750



• • • • • 

photo-eye Gallery is proud to represent Tom Chambers.

For more information, and to purchase prints by Tom Chambers please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202

Book Review The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams Photographs by Alessandra Sanguinetti Reviewed by Laura Larson "Alesandra Sanguinetti’s The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams, originally published in 2010, has now been reissued by Mack Books. The book is the first of an anticipated three-volume set dedicated to her two-decade strong project about the Argentinian cousins, Belinda and Guille. A devotional to female friendship, Sanguinetti witnesses the girls in childhood and early adolescence, charting the imminence of adulthood in their everyday..."

By Alessandra Sanguinetti.
https://www.photoeye.com/bookstore/citation.cfm?catalog=ZJ618
The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams
Photographs by Alessandra Sanguinetti

MACK, London, England, 2020. 120 pp., 11x11".

Alesandra Sanguinetti’s The Adventures of Guille and Belinda and The Enigmatic Meaning of Their Dreams, originally published in 2010, has now been reissued by Mack Books. The book is the first of an anticipated three-volume set dedicated to her two-decade strong project about the Argentinian cousins, Belinda and Guille. A devotional to female friendship, Sanguinetti witnesses the girls in childhood and early adolescence, charting the imminence of adulthood in their everyday.

Sanguinetti elaborates on the documentary premise of the durational project with her collaborative approach to working with Beli and Guille. The girls would improvise on different narrative cues. In some, they enact the anticipated stories of (heteronormative) womanhood: romance, marriage, pregnancy. Biblical iconography informs their playacting too — a nativity scene, a dead Christ — nodding to the country’s Catholic dominant society. These dramas, refracted through the sensibilities of the girls, stage a feedback loop of play, culture, and fantasy, set within the backdrop of Argentinian farm life, a powerful third character of their dream life. Beli and Guille are charismatic performers, full of verve, humor, and vulnerability. Sanguinetti depicts their intimacy with warmth and tenderness alongside the richly observed details of their domestic landscape: family, animals (they are everywhere), and the farm.


Their roots in home and land are brilliantly depicted in a pair of images. Guille bathes in a metal bathtub in the yard, surrounded by ducks, a single chicken, and a dog. An elderly woman holds a fistful of her long hair, the strand forming a line with the grandmother’s arm. An uninterrupted stream of water, another line, flows from a pipe that juts into the upper left corner of the frame. In the next image, Beli and a man stand in a field, facing one another, holding a thin length of ribbon stretched between them. Lines of attachment unfold through touch.

Looking at these pictures, I was reminded of a game I played with my daughter when she was a baby. We held opposite ends of a Slinky. I would walk away, stretching the toy as far as it could go. Hold on, don’t let go, I said before I would walk back to her. I always come back.


A peek on Sanguinetti’s Instagram reveals a video of Belinda and Guille carrying out a funeral ceremony. Beli, playing the role of the priest, recites the prayer; Guille, the only attendant, weeps. Suddenly, they erupt into giggles, puncturing the solemnity of the play. There is no grave, just two girls riffing off one another. The photograph of this scene shows a smiling Beli watching Guille’s convincing, if scenery-chewing, enactment of grief.

Do you remember when you realized for the first time you would die?

Death is a prosaic presence in the book, a familiar companion in the rhythm of their days. The girls watch the skinning of a cow. Later, Beli delicately peels the viscera off its head. Early in the book, we see Guille gently stretching the wings of a rooster in the kitchen. Later, she carries a dead chicken by its feet through a field. I wondered if it was kin to the rooster. Brutality filters into their play. The girls stage scenes of melodramatic violence, riffing on the gestures of tabloids and Hollywood movies. Beli points a toy pistol under her chin, her head lifted towards the sky while Guille, hands on her hips, watches her suicide reflected in a puddle, seemingly unmoved. In another image, Beli turns the pistol on Guille who appears to beg for mercy, hands clasped in prayer. It’s her turn to look up at the sky.

What haunts the long-term documentary project is the life expectancy of its subjects, the understanding they will die too. This is the melancholic chord of the work, knowledge held in tension with these vital portraits. I want to make a claim here that this is the gaze of a parent, a set of eyes that knows well the expanses and limits of a life and how it can, and can’t, be rendered in a photograph. She generously reserves as much as she shares, honoring the girls’ intrinsic mysteries. Sanguinetti’s photographs are prisms, multiplying and layering time: the textures of the quotidian, its roots in family and land, and the imagined joys and sorrows of the girls’ futures.

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Laura Larson
is a photographer, writer, and teacher based in Columbus, OH. She's exhibited her work extensively, at such venues as Art in General, Bronx Museum of the Arts, Centre Pompidou, Columbus Museum of Art, Metropolitan Museum of Art, Museum of Fine Arts, Houston, SFCamerawork, and Wexner Center for the Arts and is held in the collections of Allen Memorial Art Museum, Deutsche Bank, Margulies Collection, Metropolitan Museum of Art, Microsoft, Museum of Fine Arts, Houston, New York Public Library, and Whitney Museum of American Art. Hidden Mother (Saint Lucy Books, 2017), her first book, was shortlisted for the Aperture-Paris Photo First Photo Book Prize. Larson is currently at work on a new book, City of Incurable Women (forthcoming from Saint Lucy Books) and a collaborative book with writer Christine Hume, All the                                                               Women I Know.
photo-eye Gallery photo-eye Conversation: Reuben Wu on NFTs Anne Kelly
photo-eye Gallery Director Anne Kelly speaks with represented artist Reuben Wu about what NFTs could mean for photographers, and provides a general overview of what this digital asset really is.
Reuben Wu, XT1876, Archival pigment print, 22 x 30," Edition of 10, $2400 

This week at photo-eye, we're premiering the newest installment of our photo-eye Conversations series! Listen to Reuben Wu and Gallery Director Anne Kelly discuss the finer points of NFTs

What is an NFT? It seems like they appeared out of thin air in early 2021 — and now everyone is talking about them! The truth is that NFT’s (non-fungible tokens) have been around for about a decade now, but it wasn't until recently that they entered mainstream discourse around art and technology. How and why did they go mainstream? Most people credit the Beeple NFT sale at Christie's this March; there, Beeple (who is also known as Mike Winkelmann) sold "Everyday: The First 5000 Days" for $69 million at auction. At this price point, the story spread like wildfire, but, again what actually sold? What is a non-fungible token, and what could they mean for the art world?  There is no question that they have entered the mainstream market, but even so, a lot of people are still confused about what they are and what they mean for the art world…  

After receiving some encouragement from other NFT artists, In the Spring of 2021, photo-eye Gallery artist Reuben Wu decided to give it a try!  Since then you may have heard his name pop up in conversations about NFTs as one of the first image-based artists to utilize this digital space. In this installment of photo-eye Conversations, Reuben Wu and Gallery Director Anne Kelly offer some insight into the world of NFTs. Reuben shares the story of how he came to “mint” his first NFT, what the result was, his current opinions, and where he thinks NFTs are going. 

Spoiler Alert — Wu believes that NFTs are here to stay, but no need to fear, Reuben has no plans to stop making prints (on paper) anytime soon. 

>> View Reuben Wu’s work here! <<


Watch the illuminating conversation between Anne and Reuben below, and check out our glossary of NFT terms below, for reference!


NFT: Non-Fungible Token is a unique piece of the blockchain that is truly one of a kind. It isn’t fungible (replaceable). Think about it this way — two mass-produced reproductions of the Mona Lisa are fungible, but the original Mona Lisa painting is non-fungible.

Blockchain: A blockchain is a secure digital ledger that tracks the transactions involving and ownership of an NFT or a cryptocurrency. Since NFT’s live on a blockchain, all of their changes in ownership and value can be quantifiably tracked! In an art world context, you can think about the blockchain as a way of keeping track of an NFT’s provenance.

Cryptocurrency: A cryptocurrency is a digital or virtual currency that is secured by cryptography, which makes it nearly impossible to counterfeit or double-spend.

Ether (ETH): The cryptocurrency native to the Ethereum platform with which most NFT’s are bought and sold.

Ethereum: A decentralized, open-source blockchain platform that allows for secure storage of both currency and information. 

Gas: This is, essentially, the fee that you pay to make a transaction on the Ethereum blockchain, where most NFT’s live. Since ETH is mined in finite supply, these fees rise and fall in step with supply and demand.

Metaverse: A world shared between the physical and digital realm. Though this concept originally belongs to science fiction, due to the increase in popularity of cryptocurrencies and NFT’s alongside the prevalence of the internet in daily life, the term can be used to mean now.

Mine (mining): The process of adding small bits of cryptocurrency to the blockchain through complex computer methods that verify and validate transactions.

Mint (minting): Minting an NFT is the process of authenticating that original file (be it an image, a video, a music file, etc) and formally adding it to the blockchain. This can’t be done without paying gas fees.

>> More photo-eye Conversations <<


>> More work from Reuben Wu! <<


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photo-eye Gallery is proud to represent Reuben Wu.

For more information, and to purchase prints by Thomas Jackson please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202


Book Review Vanishing Points Photographs by Michael Sherwin Reviewed by Blake Andrews “Epiphanies come in all flavors. Archimedes in the bathtub. Newton under the apple tree. For photographer Michael Sherwin it was a strip mall. On a visit to Suncrest Town Centre in his home of Morgantown, WV, Sherwin was rocked by the realization that he was standing atop a former burial ground of the local Monongahela..."

Vanishing Points. By Michael Sherwin.
https://www.photoeye.com/bookstore/citation.cfm?catalog=IG077
Vanishing Points
Photographs by Michael Sherwin

Kehrer Verlag, Heidelberg, Germany, 2021. 172 pp., 9½x12x¾".

Epiphanies come in all flavors. Archimedes in the bathtub. Newton under the apple tree. For photographer Michael Sherwin it was a strip mall. On a visit to Suncrest Town Centre in his home of Morgantown, WV, Sherwin was rocked by the realization that he was standing atop a former burial ground of the local Monongahela. Adding insult to injury, the remains had been exhumed during the mall’s development, then shipped for safekeeping to the wrong tribe, the Seneca in New York, a traditional enemy of the Monongahela.

Such an indignity is a sadly typical oversight, adding to the continuing horror of the native genocide spanning four centuries of American history. Native cultures have been decimated but many physical artifacts remain. They scatter the land in various forms, from murals to mounds to sacred grounds. Sherwin set off to photograph what he could find of such places, view camera in tow. The results of his nine year cross-country project have now been published by Kehrer Verlag as Vanishing Points.


Photographing native cultures presents a basic dilemma from the start. How does one illuminate a “vanishing point”? The book’s title states the crux directly, and Sherwin makes an admirable stab at follow-through. He picks around the edges of ancient sites and tribes, and hints at their presence indirectly. A picture of tire tracks winding into the distance puts a secondary twist on the title, while alluding to bygone nomadic predecessors. Depictions of natives in murals, petroglyphs, and reconstructed teepees are more concrete. There may no longer be active tribes gathering at Shiprock, Devil’s Tower, the Badlands, and Canyon de Chelly. But the photographic force of such natural wonders still creates a solid impression. It’s no wonder such places are considered sacred.

Natives engaged with these sites and many more (and still do in many places). In fact, it is tough to find any location in North America which doesn’t carry some native connection. For the contemporary photographer, that leaves a lot of latitude. One can point the camera just about any direction and capture something of importance, a fact which Sherwin leverages to an advantage. Vanishing Points collects a diverse range of raw material. The photos span the US — albeit perhaps more concentrated in northern Appalachia and the Great Basin — and vary widely in subject matter. There are plant closeups, cemeteries, interiors, rivers, small towns, and sweeping horizons. In many of the pictures the native connection is not visually apparent, and one must read the captioned rear index to fill in historic context.

One type of relic which has lasted into the present, and features prominently in Vanishing Points, is the burial mound. These rounded hills are found in all sizes throughout the country, rising up occasionally to great heights and imposing presence. Over the centuries many have become overgrown or fenced off or bypassed. At this point most appear indistinguishable from natural landforms. They might be mistaken for incidental hills, but to someone who knows what to look for — i.e. Sherwin — they are quite noticeable. He’s transformed them into the centerpieces of several nice pictures, tracing a loose thematic undercurrent of native structures still extant. The mound pictures close with a clever visual rejoinder, a photo of a sand pile near a golf center in Ohio. Looking very moundlike, but also so ephemeral it might blow away the next day, the photo offers a blunt take on cultural endurance, and the merits of forward-looking ethos. Earthworks built in the 1700s are still around. But for a contemporary sandpile, the prospects are more precarious.


Sherwin hits a similar note of historicism with another book motif, a series of modern detritus interjected at regular intervals as dreary still lifes. A smashed beer can, a party shaker, a foam ball, insect killer, a tarp fragment, and so on. All of these items — collected at native historic sites — seem rather disposable, especially in the context of great geologic forms and ancient relics. To their credit, they have endured, some with a layer of rust or grime to show for it.

It’s hard to shoot such grievous material without moralizing, and Sherwin pulls no punches. While his photographs are somewhat neutral — most of them well centered and static — the captions reveal traumatic backstories. One describes a gold mine and driving range on land promised to the Lakotas. Another describes a settler massacre. There is no way to sugarcoat the brutality of the so-called “Indian Wars”. Sherwin’s photos are powerless to change the past. But they can at least point a finger at the visual history. For him the lessons go past the epiphanic, touching on the deeply personal. “My spiritual views more closely align with those of Native American cultures and Eastern religion,” he writes. “We have gotten out of balance with our earth.” Borne of such rueful sentiments, Vanishing Points has a message of societal prescription. There is a grain tragedy in these photos, yes. But they have a redemptive quality. If these pictures trigger historical awareness, and perhaps the occasional epiphany, it’s one small step.

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Blake Andrews is a photographer based in Eugene, OR. He writes about photography at blakeandrews.blogspot.com.
photo-eye Gallery From the Flat Files: Thomas Jackson's Emergent Behavior Delaney Hoffman
photo-eye Gallery takes a deep dive into Yarn no.2 from Thomas Jackson's series, Emergent Behavior.
Thomas Jackson, Yarn no.2, Chester Springs, Pennsylvania, 2012, Archival pigment print, 20x25," Edition of 3, $2500

This week at photo-eye, we’re taking a deep dive into one of our favorite images by Thomas Jackson, Yarn no. 2, Chester Springs, Pennsylvania, 2012.

The constructions of Thomas Jackson, despite their appearance, are slow. Though their subject matter is literally explosive, Thomas Jackson’s images from the Emergent Behavior series are painstaking. Armed with his 4x5 camera and occasional assistant, Jackson installs his constructions in their setting prior to photographing. Yarn no. 2 is no exception.

Thomas Jackson, Yarn no.2, Chester Springs, Pennsylvania, 2012, Archival pigment print, 20x25," Edition of 3, $2500

The central burst of activity animates the image, with a cluster of lines that seem to expand ever outward, mimicking the experience of watching something grow, but only by doubling back on itself first. Ultimately, expansion feels inevitable; when I look at this image, I know that the neon web will bounce and bounce in perpetuity, even if I’m not sure what that means for me just yet. The randomized chaos of Jackson’s branch-bound installation almost makes me feel claustrophobic, but then I realize that I can see fishing line. Suddenly, there is a visual element that draws my eye away from the bustling center and into the gentle woods behind it.

Detail from Thomas Jackson's Yarn no.2

This composition, despite its straight lines and glaring palette, has been forced to slow down; it has forced my eyes to wander, to consider its points of origin. Suddenly, it is apparent to me that everything is meticulously tied and staked, and in noticing the detail present in the lush, green foreground, I also remember that this is a 4x5 photograph. My initial perception of this image was that it must have been digital, despite knowing how it was made. Maybe this is because this random explosion of string feels like it could have occurred spontaneously over one or multiple attempts. Maybe it is because I have been conditioned to think of contemporary work shot on film as striving for neutrality and balance, and the digitally printed, fluorescent web of yarn staring back at me is antithetical to that; however its objectively analog methods of construction place Yarn no. 2 in the uncanny space in between the real and the rendered. It is an image that makes us look twice.

Detail from Thomas Jackson's Yarn no.2

The Freudian definition of the “uncanny” — that which is familiar yet strange — is one that Thomas Jackson embraces and hopes to incite through the imposition of his sculptural works onto the landscape. This feels appropriate for Jackson, who began Emergent Behavior, the overarching series of which Yarn no. 2 is a part, by engaging with the idea of the “swarm.” A cloud of gnats in the summertime is not that much different from an ant colony, which is not much different from our very connected human world, if you think about it through the lens of the hive mind.

Hear more from Thomas Jackson about this idea by exploring his 2015 interview and talk on the work at the link below!

>> Thomas Jackson on Emergent Behavior <<


• • • • • 

photo-eye Gallery is proud to represent Thomas Jackson.

For more information, and to purchase prints by Thomas Jackson please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202
Book Review Visual History Afghanistan 1980–2004 Photographs by Ed Grazda Reviewed by Brian Arnold "I think one of the most important histories of photography is the highly acclaimed trilogy compiled by Gerry Badger and Martin Parr, The Photobook: A History. I have, however, a list of titles that feel like great oversights, books of such originality, insight, and significance that they should have been included in this history but were overlooked. One of those books, on my list, is Ed Grazda’s Afghanistan: 1980-1989, published in Switzerland by Verlag Der Alltag in 1990..."

https://www.photoeye.com/bookstore/citation.cfm?catalog=ZJ822
Visual History Afghanistan 1980–2004
Photographs by Ed Grazda

Fraglich, Austria, 2021. 124 pp.

I think one of the most important histories of photography is the highly acclaimed trilogy compiled by Gerry Badger and Martin Parr, The Photobook: A History. I have, however, a list of titles that feel like great oversights, books of such originality, insight, and significance that they should have been included in this history but were overlooked. One of those books, on my list, is Ed Grazda’s Afghanistan: 1980-1989, published in Switzerland by Verlag Der Alltag in 1990. For this book, Grazda traveled with and documented mujahideen crossing from Pakistan into Afghanistan to fight in the jihad against the Soviet Union, the resulting book being part personal diary and part cultural document. Thus, I was excited to learn that Ed Grazda is making another book about Afghanistan.

His newest book, Afghanistan: A Visual History, produced by Fraglich Publishing (a small publisher in Austria that specializes in photobooks about Central and Southeast Asia), is again equal parts cultural history and personal record. Illustrated with images Grazda collected and produced during his engagement with Afghanistan between 1980-2004, the book reads more like a handmade artist book than it does a traditional history and is composed of image/text collages that provide a tremendous insight into the remarkable complexities of a troubled and difficult nation.


As a cultural history, Grazda presents many of the major turning points in the recent history of Afghanistan — the invasion by the Soviet Union and the start of the jihad against their acts of imperialism; weapons and money pouring into the country through Pakistan, all from Ronald Reagan’s initiatives during the Cold War (“the stinger missiles were a turning point in the war,” we are told); the eventual defeat of the Soviet Union and the resulting collapse of the Soviet Block; the rise of the Taliban and their theocratic state; 9/11, the War on Terror, and the American invasion; a 24 hour newsfeed brought by CNN and the West, produced to provide a mass education in the region and an ongoing documentation of the American military; installing Hamid Karzai to oversee the government and a new political era in Afghanistan; and finally the open elections of 2004. Grazda pieces this all together with photographs made during his travels, a collection of recruitment posters and other materials made by the mujahideen, newspaper clippings, and other visual ephemera, all tied together by short written statements based on his experiences working in the country.


As a personal history, this book details Grazda’s connection with and commitment to Afghanistan for decades. Those familiar with Afghanistan: 1980-1989 will recognize many of the photographs in this most recent book. And like in his first book, Grazda includes a great deal about his relationships and friendships with Afghans, including some of the mujahideen, seen in fragments of letters and conversations held with some of his subjects. This is essential for understanding Grazda’s work and accomplishments. Rather than being just another foreign reporter, Grazda became a sort of colleague, not only making a concerted effort to understand the lives and ambitions of the mujahideen, but to empathize with and even support something of their cause. He developed important, trusting friendships that helped him provide a clear, honest record of a history poorly understood by much of the world. The text includes emails Grazda received from mujahideen fighters (by the basics outlined in the Patriot Act, Grazda must have been tagged by the CIA), newspaper clippings, and his own memories about his time in Afghanistan.

The design of the book is primitive, with the cover made from unadorned, grey bookbinding boards, with the title and two maps (one a mujahideen montage of archival photographs) appearing as though hand-cut and glued to the boards. Each page is composed as a collage, with the text written out on a typewriter (or at least in a typewriter font), and then mounted on or next to the photographs, complete with misspellings (he repeatedly uses Buddah instead of Buddha) and words x’ed out. This seems like a deliberate strategy to make the book feel like a scrapbook, and to help give it a quickly produced, urgent feel. The reproductions are somewhat crude, with the darker tonal registers often looking muddy or blocking-up. With so many luxurious and richly produced photobooks today, there is something I love about this presentation — it somehow emphasizes the content of the book, to render it bluntly rather than lavishly — but there is also something about it that seems too self-conscious, a deliberate genre specific design (think of the books Bill Burke made in Southeast Asia, or even works by Peter Beard and Max Pam), resulting in a more romantic narrative.


The release of Afghanistan: A Visual History couldn’t have been more well-timed, as suddenly Afghanistan is part of a global discussion again. There are so many important facets to understanding contemporary Afghanistan, and America’s involvement reaches back far deeper than 9/11 and the War on Terror. Grazda isn’t shy about pointing out important and challenging truths, like that time and again the United States has failed Afghanistan. Or that, like it or not, Afghans deserve the right to self-determination, and that they have repeatedly demonstrated a strong will, patience, and tenacity. Grazda’s work brings an important, humane perspective on the subject, and reveals an imperiled nation full of people grappling with ways to make meaning from such a complex and violent history, on both personal and cultural levels. Looking more at Fraglich, they have now published several interesting and important books looking at Afghanistan, including The Disaster of War by Khalid Hadid, the photographic autobiography My Name is Noor Mohammad, and more lightheartedly, Box Camera NOW. Collectively these books have a great vision, highlighting the incredible complexity and resourcefulness found in Afghanistan.

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Brian Arnold
is a photographer and writer based in Ithaca, NY, where he works as an Indonesian language translator for the Southeast Asia Program at Cornell University. He has published two books on photography, Alternate Processes in Photography: Technique, History, and Creative Potential (Oxford University Press, 2017) and Identity Crisis: Reflections on Public and Private and Life in Contemporary Javanese Photography (Afterhours Books/Johnson Museum of Art, 2017). Brian has two more books due for release in 2021, A History of Photography in Indonesia: Essays on Photography from the Colonial Era to the Digital Age (Afterhours Books) and From Out of Darkness (Catfish Books).
photo-eye Gallery New Ltd Edition Books from David H. Gibson Delaney Hoffman
photo-eye Gallery presents two beautiful new books from gallery artist, David H. Gibson.

 


David H. Gibson, Sunrise, December 24, 2019, Texas Gulf Coast #3756, 2020, 13.5" x 24," Edition of 25, $900

photo-eye Gallery is thrilled to announce new images and two new limited edition books by David H. Gibson, Mullein Along the Shore and Reeds and Morning Light.

David H. Gibson works with time, light and the natural world to build photographic portraits of a place through patience. Gibson’s images are ethereal, casting the natural world as a magical character in its own story, though it is the translation of these photo projects into book works that separates David H. Gibson from other landscape photographers in the same camp.

Cover of Mullein Along the Shore, Eagle Nest Lake, New Mexico, August 27, 2019, 2020, Edition of 5, $5000

Mullein Along the Shore, Eagle Nest Lake, New Mexico, August 27, 2019 is housed in an archival handmade box and consists of seven panorama photographs, though none of these are presented in a way that would be thought of as “traditional”. Through the design of the box that the images are housed in, Gibson offers the viewer a compelling and tactile experience with each of the photographs, with four of them opening up and out of the box as an accordion and one of them unfolding as a four-panel, hinged image.

Mullein Along the Shore interior view with included panoramas partially unfolded

By allowing the viewer to engage with the work in such a material way, David H. Gibson prompts his audience to mirror his own gradual experience of looking and photographing; utilizing a method that merges the material with the conceptual.

Reeds and Morning Light, Texas Gulf Coast, December 24, 2019, photographed in one of the artists’ favorite places, provides a meditative series of photographs documenting a sunrise along the coast of the Gulf of Mexico. Exploring Reeds and Morning Light, like Mullein Along the Shore, offers the viewer a plethora of opportunities to intimately engage with Gibson’s photographs. The box accompanying this volume is made with equal immaculate care and contains four accordion books with a compartment for each.

View of Reeds and Morning Light interior with booklets and panorama, 2020, Edition of 5, $5000


Documenting the natural and inevitably changing world with a meticulousness that rivals that of Bernd and Hilla Becher produces stunning results for David H. Gibson. Engaging with these portfolios mimics the universal experience of watching the day begin, of feeling an early morning chill work its way out of your system while the winter sun works its way into a frozen world, of watching a place that puts you at peace truly come alive.

View more images from Reeds and Morning Light below, and explore more of David H. Gibson’s work here:

David H. Gibson, Sunrise, December 24, 2019, Texas Gulf Coast #3758, 2020, 13.5" x 24," Edition of 25, $900


David H. Gibson, Sunrise, December 24, 2019, Texas Gulf Coast #3680, 2020, 13.5" x 24," Edition of 25, $900


David H. Gibson, Sunrise, December 24, 2019, Texas Gulf Coast #3691, 2020, 13.5" x 24," Edition of 25, $900



• • • • • 

For more information, and to purchase prints or books by David H. Gibson, please contact Gallery Director Anne Kelly or Gallery Assistant Delaney Hoffman, or you may also call us at 505-988-5152 x202


Book Review Sasuke Photographs by Masahisa Fukase Reviewed by Christopher J Johnson "Everything she does is done with the seriousness of a grape juice stain. She’s never been to the zoo or on a train (Sasuke had experienced both). She thinks kisses are bites or that bites are kisses; I kiss her nose, she bites my nose. She has several names: Littlest, Xyla, Spidermouth — these are interchangeable, and she is just as happy to reply to one as to another..."
https://www.photoeye.com/bookstore/citation.cfm?catalog=ZJ775
Sasuke
Photographs by Masahisa Fukase

Atelier EXB, 2021. 192 pp., 7¼x10¼".

Everything she does is done with the seriousness of a grape juice stain. She’s never been to the zoo or on a train (Sasuke had experienced both). She thinks kisses are bites or that bites are kisses; I kiss her nose, she bites my nose. She has several names: Littlest, Xyla, Spidermouth — these are interchangeable, and she is just as happy to reply to one as to another.

After about 6 months Littlest never got any bigger, so she’s called Littlest. She’s got wood-hued splotches, so she’s called Xyla. Spidermouth… that name needs no explanation.

This is what it is to have a pet, in this case a cat. It’s a personality in the house. A character in your life different from other characters, but not by species — rather by choices, actions, the endearments of time and interpersonal relations, observations: joy, fury, sleepiness, and, even, sorrow, anger etc. Littlest is no laughing matter.

Character might be something built purely by interaction, just as much as it is of coding or upbringing. We seldom, if ever, speak of the ‘character’ of those who are strange to us; strangers are somehow neuter — characterless; and this is an aspect of their stranger-ness. We often imagine strangers as something easy to guess at, transparent bodies that we can see right through; while those we know are more likely to be mysterious by choices we never could have guessed them to make.

Spidermouth/Xyla/Littlest is mysterious and exact both, because she’s familiar. 


So, why ramble about a cat who is, after all, in no book whatsoever? Because I want to talk about two cats who were infuriatingly and endearingly close to the photographer who brought them up, loved them, and ultimately captured something of their spirit and of his own; are we not reflections of those with whom we have invested our time? Human or other form of animal; living or dead? I think very much that — yes, we are.  

Sasuke and Momoe. Siblings by upbringing. The book Sasuke covers both cats’ lives. We see them daringly climb to impossible heights. We see them attacking pencils. We see them yawning. We see them stuck to the window screen like an odd bat. We see them with a routine of human-inspired faces: angry, confused, sleepy, overanxious, frightened, complete passed out. Fukase, like a loving parent, captures all their moments. And, that’s just what’s curious about the series. Curious and wonderful. The cats aren’t presented like animals, but like children; their every moment a development, a movement forward, a memorable experience — an annal of the family Fukase.



We anthropomorphize our pets. We lay our emotions about them as if they will seep into their intelligence, and then demand that they exhibit aspects of our way of thinking and expressing. But, this is senseless — senseless as trying to understand anyone: dog, crow, person, or even entities like schools, communities, and companies. We see them as we are, making the choices we’d make or defying those choices and weigh them constantly against our own selves (or, perhaps, our presumed selves).

The anthropomorphizing is, I think, an effect of volume, but Fukase seems to defy this, as any parent would. This is a family album. A document of familial love. In experiencing these two cats throughout 180 pages, you can’t help but make them tiny, fury people choosing their choices, making faces based on their desires to express themselves and, maybe they are — or at least as much so as Fukase, to them, was a cat doing cat things very poorly.

I am reminded of Montaigne who I paraphrase, Do people ever appear more insane than when talking about their pets or their kids. Sasuke is a book of paternal mania. A chronicle of obsession. A printed form of talking too much. But, this is a good thing. Sasuke is two very rich character sketches. It is also, and I’ve seen so so so many of them, the best cat-as-subject photobook in memory.

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Christopher J Johnson is a poet and writer living in Santa Fe. He is the author of &luckier, from the center for literary publishing. He is currently manager of photo-eye’s Book Division.