SoCal PhotoExchange

Photography and Other Arts in Vienna

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Vienna, as seen from the Upper Belvedere Museum

 

Last week was spent in Vienna (Austria), a city bursting with history and art, as well as home of culinary specialties including the infamous Wiener Schnitzel (no, it’s not a hot dog!).

The occasion was my participation in a workshop on curating, conducted by the enterprising and well-informed art historian Kristin Dittrich, who also happens to be the Founder and Director of the Shift School for Photography in Dresden, Germany. The location was the Anzenberger Gallery, a place known for its emphasis on contemporary photography as well as its special nurturing of photobooks through its affiliated store. All these subtopics would certainly merit separate articles, especially since the Shift School is the site of the complete Steidl Library with well over a thousand volumes, a unique contribution to the documentation and use of photobooks.

The workshop was a highly fascinating experience. Kristin knows how to combine theory with practice, as well as how to build in the experience of the participants at various points in the proceedings. Many hints on the process of curating exhibitions were included, as well as some practical exercises on how to sort topics, issues, styles, and images into an actual exhibit, along with a formal presentation and the fielding of audience responses. A museum visit (Kunst Haus Wien) and the Ostlicht Gallery and Library were also included. The Shift School is offering a variety of events and classes throughout the year, highly recommended!

Naturally, you can’t be in Vienna without visiting some other museums and cultural events. Highlights were Belvedere Castle with its Klimt exhibits, 18th century Messerschmidt facial selfie sculptures, and Klemens Brosch, who was a particularly gifted early 20th century creator of drawings that approximated photographic quality and moods, with a special bent for science fiction. Kafka’s Metamorphosis (Die Verwandlung) at the intimate Pygmalion Theater provided a stunning tour-de-force performance by Philipp Kaplan as the stressed outsider figure.

Lest you fear that I was lacking other sustenance, I am including a soupscape, first photographed and subsequently consumed at Anzenberger Gallery, as well as an image of a slice of walnut cake, for your vicarious pleasure. Wahnsinn!

Gerhard Clausing

 

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Anzenberger Gallery: Gilbert Garcin exhibit, “Life is a Theater” (through May 19, 2018)

 

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Kristin Dittrich, Director of the Shift School of Photography in Dresden, teaching the curating workshops at Anzenberger Gallery in Vienna

 

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Sketch/model for a photography exhibit on positive aspects of aging, “Hey, we are still around!” designed by Franziska Neidhart and Gerhard Clausing as part of the Shift School Curating Workshops

 

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Kunst Haus Wien exhibit: “It’s not me, it’s a photograph” by Elina Brotherus (through August 19, 2018)

 

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“It’s not me, it’s my shadow”: The viewer (GC) superimposed on the video projection by Elina Brotherus

 

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An early example of selfies: one of Messerschmidt’s 60 facial grimace sculptures of himself (this one, about to sneeze), 1771-1783; Upper Belvedere Museum

 

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Lower Belvedere Museum exhibit featuring the rediscovered Klemens Brosch (through June 3, 2018)

 

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Klemens Brosch, “The Crocodile on the Moon Disk” – ca. 1912, property of Österreichisches Landesmuseum

 

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Soupscape, observed and consumed at the curating workshop, taking care of the stomach

 

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Vienna is famous for its cakes and pastries: Walnut Cake, Café L. Heiner, Vienna

 

All photographs © 2018 Gerhard Clausing

 

 

 

Jim McKinniss at SE Center for Photography

Posted in Photo Art Business, Photograph Exhibits, Photography, tPE members by douglaspstockdale on March 21, 2018

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Iris, #2 copyright Jim McKinniss

The South East Center of Photography will be exhibiting their show The Still Life, which was curated by Kimberly Witham. We are excited that PhotoExchange member Jim McKinniss was juried in with two photographs, Iris #2, above, and Two Tulips, below.

I had a chance to talk to McKinniss recently about this still life series which came about when he had an opportunity to experiment in a photo studio. He brought with him some glass vases and a collection of flowers and then just played with the various combinations. What I note is that by placing the vases of flowers on a precarious edge of the support, he introduced a subtext of tension in which otherwise might appear as a tranquil subject.

The exhibition runs from April 13 thru May 19th, and the opening reception is April 13, 2018 from 6-8PM.

Juried into this exhibition and joining McKinniss are Hannah Arnette, Angie Pember Brockey, Susan Bryant,  Jo Ann Chaus,  Mihai Chebac, Robert Dutruch, William Earle,
Malcolm Easton, Vladimir Frumin, Daniel George, Nadide Goksun, Margaret Halaby, Jackie Heitchue, Gea Hogeveen, Susan Kott, Thomas Ladd, Carol Lawrence, Laura Malaterra, Lea Murphy, Katherine Richmond, Wilford Scott, Melissa Stewart, JP Terlizzi, Terry Towery, and Tina Weitz.

We have featured Jim McKinniss photographic work previously: represented by Collector Works

Cheers!

Two Tulips

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Report on Photobook Day at LACP Open House, March 17

Posted in Photo Art Business, Photo books, Photographers by Gerhard Clausing on March 18, 2018

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Yesterday was a very exciting day at the Los Angeles Center of Photography (LACP) in Hollywood. During its Open House Weekend, March 17 emphasized photobooks.

The day started with a fascinating presentation by our own Douglas Stockdale. In covering the topic “Photobook Pre-Visualization,” he took the audience on a tour of his own book-publishing history, and shared some of the thoughts, trials, and tribulations behind each of several projects. Contrasting his commercially published volume Ciociaria with several projects in the self-publishing category (Bluewater Shore, Middle Ground), it was an apt demonstration how projects move from the conceptual stage to the finished product, and what all can happen in between. Doug especially emphasized the importance of the necessary haptic and visceral experience with physical “dummies” (maquettes), since you can change the format and sequence around as much as necessary until a satisfactory sample is arrived at. For his latest project, Middle Ground, he showed four stages of dummy preparation.

Dan Milnor, Creative Evangelist for Blurb, was next, with his presentation “Self-Publishing for Photographers: Blurb Books.” Here too the emphasis was on creativity and experimentation. Blurb provides a variety of tools and printing sizes and formats to fit any idea a photographer might have. Dan emphasized that potential photobook artists should dare to break out of the constraints of predictability and sameness. He encouraged each photographer to be “an interesting original human being” and to collaborate, especially with excellent designers.  He then presented a range of photobooks, published by himself over time, as well as by others, showing multiple format ideas, and discussed some cost issues as well.

The third major event was a panel discussion on “How to Get Your Book Published.” With Douglas Stockdale as moderator, experiences were shared by Stephen Schafer (we will be reviewing his book here shortly), Cat Gwynn, Sarah Hadley, Dan Milnor, and Mark Edward Harris. Projects covered included, among others,  photography in exotic locales, publishing offbeat projects, and the role of photography as a therapeutic experience.

In the vendor area, it was possible to check out products and services presented by ASMP-Los Angeles, Blurb, Canon, Dual Graphics, Fabrik Projects, Freestyle, Hahnemühle, and The Artist Corner. A portfolio and book walk by LACP members and presenters (shown above), as well as raffle prize drawings, rounded out the afternoon. The day was also enhanced by food and refreshments facilitated by the one and only Julia Dean (Executive Director), Brandon Gannon, and other dedicated staff members and assistants. Thank you to all — it was a lovely and productive day!

Gerhard Clausing

 

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Douglas Stockdale, explaining one of the dummy stages of Middle Ground

 

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Dan Milnor, Blurb Creative Evangelist

 

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Panel Discussion: D. Stockdale with Stephen Schafer, Cat Gwynn discussing Ten-Mile Radius, and Sarah Hadley

 

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Sarah Hadley discussing her project about Venice, with Dan Milnor

 

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Dan Milnor listening to Mark Edward Harris

 

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Photography is about sharing!

 

All photographs © Gerhard Clausing 2018
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Annual Print Exchange & Membership Meeting: March 15th, 2018

Posted in Juried opportunities, Photographers, Photography, tPE members by douglaspstockdale on March 11, 2018

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Sandstone Creek, Vail, Colorado, February 2018 copyright Douglas Stockdale

The annual print exchange and membership meeting for the PhotoExchange, a group of photographers who meet monthly at the Irvine Fine Arts Center, Irvine, CA will be this Thursday, March 15, 2018 stating at 6pm. There will also be some food, usually a few kinds of pizza, vegetables and cookies, with some non-alcoholic beverages.

I have discussed this interesting, if not a bit wacky, print exchange earlier, as this print exchange has been an on-going event by this group for about twenty years. Reminds me of a white-elephant Christmas gift exchange.

Those who participate bring a photographic print, not necessarily matted, but it might help, more about that in just a moment. You will be guaranteed to leave with a print, perhaps not your first choice. The process starts with a judging of all of the photograph by the participants and the photographer who brought the photograph that has the most “likes” gets to choose another photographic print. The photographer whose photograph was just selected then has a few minutes to talk about their photograph before selecting a photograph of their choice. This process of selecting prints, then the selected photographer chooses a print continues until all of the photographic prints are gone. Unlike a white-elephant exchange, the selection is only from the the remaining photographs on display, not a photograph that somebody else has already selected.

Seems in the past that photographs with mattes usually obtains more likes or are chosen early in the process, when then entitles the photographer who brought that photograph to choose a print of their liking sooner.

This is also the membership meeting for those who wish to continue to belong, or want to join, for the year to bring their annual dues of $35.00. Preferably  a check as the group does not have access to make a credit card transaction unless someone wants to consider using PayPal with Larry Pribble.

Note: as you may suspect, like last year’s post about this event, I am included the photograph that I am bringing this year. The photographic image is 6″ x 6″, archival matte, Edition of 1/10, pigment print on Museo Portfolio Rag, Extra Smooth Matte Finish, 300 gsm weight. For those who would like to purchase a copy of this limited edition print, either in this size or larger, message me at doug@douglasstockdale.com

Let me or Gerry know if you have any questions,

Cheers!

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A Gallery of Photography — New Orleans

Posted in Photo Galleries, Photograph Exhibits, Photographers, Photography by Gerhard Clausing on March 11, 2018

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One of the wonders of New Orleans is a well-established gallery in the French Quarter,  A Gallery For Fine Photography, which was founded in 1973 by Joshua Mann Pailet.

When first entering the establishment, you are surprised by two floors full of both iconic and new work, all at the highest level of fine art photography. How often do you see a wall featuring Maggie Taylor, Louviere+Vanessa, and Henri Cartier-Bresson right next to each other (first image below)?

This week three exhibits could be seen: Michael Kenna, Michel Varisco, and Josephine Sacabo. Michael Kenna is well known and needs no explanation. The underwater worlds presented by Michel Varisco are intriguing as well, as are some of her innovative presentation techniques, such as the image mounted in a fancy cutlery box or the hinged diptych, as shown below.

I was particularly amazed by the work of Josephine Sacabo. Not only is she able to express emotions and statements through her images, but she also combines contemporary elements, in this case graffiti, with religious icons, in large hand-tinted photogravure prints. The effects need to be seen to be appreciated!

The staff of the gallery is extremely helpful and knowledgeable. The prices of the works range from lower to very high for iconic rare work. A bookstore is also part of the gallery, featuring both signed and unsigned volumes. It is of particular use to the collector to see all that is available on their website as well, including prices. This openness should be emulated by other galleries.

A museum-quality experience, highly recommended!

Gerhard Clausing

 

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Maggie Taylor, Louviere+Vanessa, and Henri Cartier-Bresson

 

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Michel Varisco: Below Sea Level

 

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Josephine Sacabo: Barking at God – Retablos Mundanos

 

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“The Accidental Selfie”: Milton Greene’s “Marilyn Monroe, Glass Balanced On Left Knee, 1962”

 

All rights reserved. Reproduction not permitted without permission.

 

Pensacola Museum of Art — Mobile Museum of Art

Posted in Art Museums, Photo Galleries, Photograph Exhibits, Photographers by Gerhard Clausing on March 8, 2018

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Even editors go on vacation once in a while, as evidenced by my image of Pensacola Beach, Florida, above. All I can say is, marvelous white sand beaches and great seafood!

While in this area, I happened upon two interesting art museums, the Pensacola Museum of Art (constructed in a former jail!) and the Mobile Museum of Art, a magnificent structure.

Photography shown in Pensacola included Richard McCabe’s recent Polaroid explorations of the rural and small-town South, in order “to capture the vanishing vernacular signage and architecture of the region.” Also interesting were his color experiments with instax exposures, shown along with projected student work.

Of course we also are inspired by mixed media and other arts. The work by Katrina Andry was particularly amazing. Her series of anthropomorphic figures in vulnerable positions cast the viewer in the role of voyeur and hunter. Her series “The Promise of the Rainbow Never Came” depicts the strife of forced transports of Africans on the Atlantic, a stark reminder of contemporary connections to history gone by, but not forgotten.

In Mobile, Alabama, the highlights were an exhibit of photographs sharing motifs with Havana, Cuba, the sister city. Further features were photographs and paintings documenting Southern subjects, as well as an extensive exhibit of geometric designs of all kinds, with delightful symmetry works that pleased me in particular.

A visit to New Orleans will be the subject of another article.

Gerhard Clausing

 

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Pensacola Museum of Art

 

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The work of Katrina Andry

 

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The work of Richard McCabe

 

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Mobile Museum of Art: View of the Park

 

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Common Ground: Mobile – Havana / Chip Cooper and Julio Larramendi

 

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Richard Frank Jr. – “If You Want Home Cooking…Stay Home” (1985)

 

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All images Copyright 2018 by Gerhard Clausing

Expired film – creative opportunities

Posted in Photo techniques, Photography by douglaspstockdale on March 4, 2018

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Untitled (Gardening for Ordnance) 2018 copyright Douglas Stockdale

About four years ago a friend gifted me a couple blocks of expired 120 roll film for my Hasselblad camera; some Ilford Pan F black&white film that expired in June of 1984, Ilford HP5 black&white film that expired in July of 1982 and a 20 pack of FujiChrome Provia 100F daylight transparency film that expired in October 2006. What most photographers had drilled into their heads by the various film companies in the pre-digital years is that expired film is in danger of color shifts and should NOT be used. The dire warnings from the film companies implied that not storing film in a refrigerated was fraught with professional danger. Of course, if any film did expire, the photographer was assumed to want to replace it, thus ensuring a steady sales of “fresh” film.

Which for my memory projects, the idea that a film might have a serendipitous color shift as a result of being expired is actually something I am hoping for. (yes, in the mean time, I have become the repository of expired 120 film among my friends for some odd reason).

For my project Gardening for Ordnance (did I mention I live on a decommissioned WWII practice bombing range?) I chose the FijiChrome as my intended color medium. Perhaps the 12 years of addition aging of my 120 film would yield some unexpected results that might induce some visual metaphors? I think that my buddy Sandy had properly stored this film he donated because so far, no real color shifts that I can detect in either the processed transparencies or in my scan files. The scan of the unaltered transparency below includes the gray card, while the image above has been tweaked with an adjustment layer for some curve modifications (slight s curve).

So could using expired film add another dimension to a creative project? I think so, but so far for this 12 year overripe block of film, regretfully not yet. Although I am now tempted to hold on to this film for a little bit longer, I think that this expired film is suitable for this current project and adds a subtle dimension to my narrative. I will use what I need for now and if any of this film is left over from this project, all the better for another day and project.

Now I am worried about my 36 year old expired black&white film, will it be uneventful as well??

Technical Notes: 120mm Zeiss Makro-Planar CF on Hasselblad 503cx, exposure 1/125th at f/5.6 (EV 12), film normal commercial development (E6).

Cheers

02-06-18 Gray card exposure - Gardening for Ordnance