July 2011 Featured Photographer : Dana Mueller

The Devil’s Den gained infamy during the Battle of Gettysburg in 1863. Fewer than 80 years following the Civil War, when both men and land were divided over the atrocities of slavery, German prisoners of war were put to work at sites throughout the South for the horrors of WWII. Dana Mueller’s photography project The Devil’s Den contrasts the POWs’ constructive labor on Southern farms with the destructive legacy of Nazi Germany, while also exploring contemporary notions of German history and identity. Click here to see Mueller’s project The Devil’s Den, 2009 - present.

Dana Mueller: The Devil's Den, 2009 - present

Click here to see more of The Devil’s Den, 2009 - present.

Dana Mueller: The Devil's Den, 2009 - present

Click here to see more of The Devil’s Den, 2009 - present.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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July 2011 Featured Photographer : Jeff Rich

Jeff Rich is continuing his Watershed project with a series dedicated to the Tennessee River, which flows from Knoxville, southwest to Alabama, and back into Tennessee. Photographing in the grand scale of 19th century American landscape photographers, Rich is creating a vibrant document of some of the Southeast’s most important waterways while subtly addressing the region’s complex environmental issues. Click here to see Rich’s project Watershed: Chapter II - The Tennessee River.

Jeff Rich: Watershed: Chapter II - The Tennessee River

Click here to see more of Watershed: Chapter II - The Tennessee River.

Jeff Rich: Watershed: Chapter II - The Tennessee River

Click here to see more of Watershed: Chapter II - The Tennessee River.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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Joshua Dudley Greer’s New Book: 26° 81°

Photographer Joshua Dudley Greer’s new book, 26° 81°, is out now. 26° 81° includes 40 full-color images of Immokalee, Florida, that "guide us through Immokalee’s quintessential American story of hardship, perseverance, optimism, and success."

Photograph by Joshua Dudley Greer, W. Delaware Avenue, Immokalee, Florida, 2010

Photograph by Joshua Dudley Greer, Cross, Immokalee, Florida, 2010

From a statement on the 26° 81° website:

"Immokalee (in 2010, at least) is more than 70% Hispanic. Immokalee sees half its population disappear each summer as migrant farmworking picks up in northern states. Immokalee is a town where the Haitian dialect of French and a south Mexican brand of Spanish are as likely to be heard as the patters of American English. "Immokalee," a rough translation of a Native American term meaning "my home," was adopted as the town’s name in the late 1800s. Today, the Immokalee Seminole Reservation and casino occupy a few blocks of the southern end of town. Immokalee is home to one high school, one middle school, five elementary schools, and a K-6 charter school. Teenagers often affectionately call Immokalee "I-town."

You can buy the book from Amazon. Half the proceeds go to the Immokalee Foundation. Individual prints are also available for purchase. Please contact Greer at jdudleygreer@gmail.com for more information.

Editor’s Note: View a selection of Greer’s photography featured on One, One Thousand in January 2011. You can also view more of Greer’s photography on his website: jdudleygreer.com

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one." — John Ruskin

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Kathleen Robbins Exhibiting in ‘Mississippi Photographs, 1860s-Present’:
A Survey of Mississippi Photography at the Ogden Museum of Southern Art

Photograph by Kathleen Robbins: Dad’s Apple TreeOgden Museum

We’re very happy to share the news that Kathleen Robbins will be participating in the upcoming group exhibition "Mississippi Photographs, 1860s-Present" at the Ogden Museum of Southern Art in New Orleans.

According to the museum, the show will be a survey of Mississippi photography spanning more than 150 years. Images will "portray the cultural, social, political and environmental changes that have shaped and defined the state, emphasizing the deep ties that exist between the people of Mississippi and the land." Among the photographers included in the exhibition are Kathleen Robbins, Eudora Welty, William Eggleston, Jack Kotz, Stuart Klipper, and Bruce West.

"Mississippi Photographs, 1860s-Present" opens on August 6 and will be on view through September 18, 2011. Congratulations to Kathleen on this great achievement!

Editor’s Note: You can view a selection of Kathleen Robbin’s photography featured on One, One Thousand in February 2011. You can also view more of Robbin’s work on her website: kathleen-robbins.com

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one." — John Ruskin

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Photography Grants and Open Calls (June 2011)

Every month, we try to collect information about grants, exhibitions, residencies, open calls, portfolio reviews, etc., that might interest you. Here are some current goings-on at Hey Hot Shot, Photolucida, the Atlanta Celebrates Photography Festival, and the Center For Fine Art Photography:

The Hey, Hot Shot! First Edition 2011 Competition

Hey, Hot Shot! Logo

Hey, Hot Shot! is an international competition for photographers at all stages of their careers seeking greater exposure, recognition, and support for their work. One part of Jen Bekman Projectswhich also includes Jen Bekman Gallery and 20×200Hey, Hot Shot! provides an ongoing platform for photographers.

What you get: 5 photographers participate in a two-week group exhibition at Jen Bekman Gallery in NYC. 1 photographer receives 2 years of representation from Jen Bekman Gallery, a full-length solo exhibition, and a $10,000 honorarium
Who can apply: Anyone
It’s gonna set you back: $80
Who’s gonna see your work: Stephen Frailey, Todd Hido, Darius Himes, Nion McEvoy, Lesley A. Martin, Kent Rogowski, Jenni Holder, and Raul Gutierrez
When’s the deadline: June 22nd, 2011 at 8:00 p.m. (EDT)

To apply, please visit: The Hey, Hot Shot! website

Photolucida’s Critical Mass 2011

Photolucida Logo

Photolucida is an arts non-profit whose mission is to provide platforms that expand, inspire, educate and connect the international photography community.

Critical Mass is an annual online program that makes connections within the photography community. Photographers submit a portfolio of 10 images. Through a pre-screening process, the field is narrowed to a group of 200 Finalists who go on to have their work viewed and voted on by over 200 esteemed international photography professionals. From the Finalist group, the Top 50 are named, and a series of awards are given, including at least one monograph each year.

What you get: Photolucida will publish a monograph for at least one photographer from among the top-scoring finalists.
Who can apply: Anyone
It’s gonna set you back: $75 for US submissions, $90 for international submissions (If you’re one of the 200 Finalists, you have to pay an additional $200 fee)
Who’s gonna see your work: Part 1: Pre-Screening committee: Susan Baraz, Bevin Bering Dubrowski, Roy Flukinger, Lauren Henkin, Stu Levy, Wally Mason, Lesley Meyer, Blue Mitchell, Laura Moya, Claire Annette, Shawn Records, Tina Schelhorn, P. Elaine Sharpe, George Slade, Christina Spielvogel, Susan Spiritus, Paula Tognarelli, and Laura Valenti. Part 2: Full panel of more than 200 jurors.
When’s the deadline: Registration is open through July 15

To register, please visit: The Critical Mass 2011 Registration page

Atlanta Celebrates Photography Portfolio Review

ACP Logo

Atlanta Celebrates Photography (ACP) is a non-profit arts organization dedicated to the cultivation of the photographic arts and the enrichment of the Atlanta art community. ACP hosts an annual, citywide photography festival in October: the Atlanta Celebrates Photography Festival.

The ACP Portfolio Review and Walk offers artists the opportunity to meet with highly respected curators, dealers, editors, and agency representatives from across the United States and beyond. The Portfolio Walk (following the review sessions) gives participating photographers the opportunity to present their work to the general public at an evening reception, open to all.

What you get: 51 photographers will be accepted, and each will receive a minimum of five 20 minute, face to face reviews. Review participants may select their choice of reviewers.
Who can apply: Anyone
It’s gonna set you back: Free to apply. If accepted, the fee is $300.
Who are the jurors: Brett Abbott, Michael Itkoff, Steven Kasher, Michael Kochman, Alexandra La Faou and Gordon Watkinson, Michael Mazzeo, Brenda Massie, Kevin Miller, Jennifer Schwartz, Anna Skillman, Katherine Ware, and Wendy Watriss.
When’s the deadline: Registration is open through July 15

To register, please visit: The ACP 2011 Portfolio Review Application page

Portfolio ShowCase Volume 5

Center For Fine Art Photography Logo

Founded in 2004, The Center for Fine Art Photography is a nonprofit organization supported by donations, grants, and memberships.

There is no theme for this exhibition. The images will be evaluated as a cohesive body of work, rather than individual images. Fifteen photographers will be chosen to display their twelve-image portfolios in the Center’s Portfolio ShowCase Volume 5 book and online exhibition.

What you get: Each participant will be included in the Center’s Online Gallery exhibition as well as published in the Portfolio ShowCase Volume 5 Book. Select artists also will receive a blog feature at the Center’s blog PERSPECTIVES
Who can apply: Anyone
It’s gonna set you back: $65 for members, $85 for non-members
Who’s gonna see your work: Chris Pichler, the founder and publisher of Nazraeli Press
When’s the deadline: September 14th, 2011

For more information, please visit: The Portfolio ShowCase Volume 5 page

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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June 2011 Featured Photographer : Lauren Henkin

The extent of many people’s experience in the small capital city of Charleston, West Virginia, is undoubtedly the drive through it on an interstate highway. Still, a brief stop may be in order. As evinced by Lauren Henkin’s photographs of Charleston, revealing light shines even on the sleepiest of placeswhere suburban streets and empty parking lots can take on the stature of landmarks. Click here to see Henkin’s project The Other Charleston.

Lauren Henkin: The Other Charleston

Click here to see more of The Other Charleston.

Lauren Henkin: The Other Charleston

Click here to see more of The Other Charleston.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, all in one." John Ruskin

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Jonathan Traviesa in Pelican Bomb, New Orleans’ Recently Launched Online Art Publication

Photograph by Jonathan Traviesa Pelican Bomb

 

Jonathan Traviesa is the latest Louisiana artist to be featured in the online magazine, Pelican Bomb. Mississippi native-turned-New-Orleanian, Benjamin Morris, writes at length about Traviesa’s decade-long portraiture project in New Orleans. He offers a local’s perspective on Traviesa’s expanding body of work:

"Even though the entirety of his portraiture is based in New Orleans, he avoids reading too deeply into its idiosyncrasies: in particular, the relationship between houses and people. Many of the houses he shoots bear no defining local markers, removing the potential obstructions of iconography or caricature, and rendering the argument of his work even more cogent: that New Orleans, particularly post-Katrina New Orleans, enjoys a right to existence as much as any other city whose balconies may not be garlanded with beads."

Read the entire article here.

Pelican Bomb is relatively new, but its editors and writers have been working hard to both document and make sense of the various art scenes in New Orleans and throughout Louisiana. The online magazine launched in February 2011, and it "focuses on [Louisiana's] native sons and daughters, recent transplants, and folks just passing through. As a contemporary primary document, it reflects the transitional and transformative nature of place as related to the creation, dissemination, and consumption of visual art today."

Pelican Bomb also has an open call to all Louisiana photographers and video artists to submit work for consideration in their "Pic(k) of the Week," which is featured prominently on the site’s homepage. You can send submissions to editor@pelicanbomb.com.

Editor’s Note: View a selection of Traviesa’s photography featured on One, One Thousand in March 2011.

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one." — John Ruskin

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Visual Influences Series:
Tommy Kha

I like to look. There’s something intrinsically attractive in photographs. It makes me sort of a repeat offender.

Tseng Kwong Chi, Pisa, Italy, 1989
Photograph by Tseng Kwong Chi, Pisa, Italy, 1989

There aren’t many Asians in Memphis. I feel there is an open racism I have come to familiarize myself with. As a result, this racism makes me realize how isolated I am because of my body’s genetic inheritances. When I turned the camera on myself while I lived in New York, I couldn’t help but feel that the self-portraits I made were going to inherit this Asianness as well.

Tseng Kwong Chi’s East Meets West are black and white self-portrait photographs made in front of popular tourist attractions. Chi wears a Mao Suit and mirrored sunglasses while holding a shutter release cable. He photographed these primarily in the United States, Europe, and "elsewhere." His glasses hide his slanty eyes and his Mao Suit may be the only sign to inform a Chinese quality to him and his photographs. But I love his obscured face. His almost impassive, expressionless face is why I pay most attention to body language, facial expressions, and manners in my own photographs. This carried over when I began to explore performative-type photographs.


Photograph by Lilly McElroy, I Throw Myself at Men #10, 2007

My understanding of performance art in relation to photography has been the distinctions between documents of a performance and photographs made by a performance.

Lilly McElroy’s I Throw Myself at Men made me understand the dynamics between photographer and subject(s). In extension, after compiling forty-something images of my kissing series (Return to Sender), I realized the difference between staging and hyper-awareness. In her series of photographs, Lilly McElroy makes several aggressive acts towards unsuspecting men. Yet, these images of a repeated action done to several men don’t represent staging to me.


Photograph by Melissa Alfonso, Rising Hunter

These repetitive images remind me the of seriality attached to photography. My favorite body of work has to do with an incompleteness, which in turns, conveys a sort of haunting within the narrative. Melissa Alfonso’s series, Rising Hunter, does this. I heard hauntings have a lot to do with jealousy. The imagery captured by her invokes a jealousy I share with wanting to belong.


Photograph by Mikael Kennedy, Passport to Trespass

In China, curators and historians debate the validity of photography—as do many here—whether or not it can be art or a record. Mikael Kennedy’s Passport to Trespass is a long documentation of his travels. He shoots Polaroids. The portraits are telling, coupled with the Polaroid’s distinct romanticized color—something I desire when photographing people.


Photograph by Amy Stein, Third Street, Memphis, TN

Amy Stein’s Stranded series captures automobile breakdowns. She says, "I’m interested in the idea of a breakdown as a sort of existential failing."

These mechanical breakdowns cause the subjects to become aware of their helplessness. The interruption to the subjects’ planned arrivals puts them in a foreign state in foreign surroundings. The breakdowns also remind me of failures as felt through the history of the South. Amy Stein’s series motivates me to capture a South that is at once familiar and strange to me—as my great-grandparents are from Southern China, as I am from the Southern United States— in order to evade further confirmation of an identity I do not feel I own.

Ownership is a very profound reality for me. It is something I find in each of these photographers. Physically looking at photographs, I feel that I am not allowed or not given the right to do so. But I continue on with my negotiations.

Editor’s Note: This piece was written by Tommy Kha for our Visual Influences Series.
View a selection of Kha’s photography featured on One, One Thousand in April 2011.
You can also view more of Kha’s work at his website: tommykha.com

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one." — John Ruskin

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Support Jeff Rich in His Effort to Save the French Broad River

Jeff Rich: French Broad River, North Carolina
Photograph by Jeff Rich, French Broad River, North Carolina

On Saturday, June 11, photographer Jeff Rich will be taking part in the Save the French Broad River Trip to raise money for the Western North Carolina Alliance (WNCA). Support Rich in his goal of raising $2000 for WNCA. Please make a donation by visiting his FirstGiving fundraising page. All donations are secure and sent directly to WNCA by FirstGiving, who will email you a printable record of your donation.

Rich has been documenting the French Broad River, which runs from North Carolina to Tennessee, for some time now. A book of his French Broad Watershed Work will be published by Photolucida in December 2011. Rich is also going to be documenting the Save the French Broad River Trip as the event photographer, so watch for daily trip updates on the Save the French Broad River website.

A bit more info: Western North Carolina Alliance is a 28-year-old environmental non-profit protecting North Carolina’s mountains, rivers, and forests. The Save the French Broad campaign is helping to create the French Broad River Paddle Trail. The paddle trail will connect over 120 miles of the French Broad River through campsites and additional river access points.

Donate

Editor’s Note: View a selection of Rich’s photography featured on One, One Thousand in July 2011. You can also view more of Rich’s photography on his website: jeffreyrich.com

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one." — John Ruskin

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Dan Powell Closing Reception:
New Works at The Gallery at Lucky Street in Atlanta on June 2nd

Featured in One, One Thousand in May, photographer and artist Dan Powell will be having a closing reception for his painting exhibition entitled "New Works" at The Gallery at Lucky Street Studios in Atlanta on Thursday, June 2nd, from 5:00-8:00pm.

Dan Powell 'New Works' Closing Reception

Here’s a bit of Powell’s statement (hat tip to Jason Parker of Atlanta’s Art Relish for the extra info): "Like a patient gardener the river shapes the land around it. The landings where we join the river are likewise shaped by our activities. Whether we launch a kayak or powerboat or just clear a spot to cast a line we are agents of change and leave our mark. I love the landings of the Waccamaw and the Little Pee Dee rivers in South Carolina. There we have come across waiting fishermen, proud brides, excited children and bemused locals. They are dotted with reminders—oyster shells and beer cans, a forgotten sneaker, stray cats and the tracks of countless boat loving dogs. These are the sites of beginnings and endings The Rhode Island vistas and seascapes are poetic memories of places observed. They serve as Proustian references, fragile madeleines which unleash a flood of pleasant imagery."

The Gallery at Lucky Street Studios is located at 130 Cone St NW, Atlanta, GA, 30303. Here’s a link to Google Maps for directions.

Editor’s Note: View a selection of Powell’s photography featured on One, One Thousand in May 2011. You can also view more of Powell’s photography and paintings on his website: danpowellstudio.com

"The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy, and religion, — all in one." — John Ruskin

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