I’ll Die For You is a project by Laura El-Tantawy about the many thousands of Indian farmers who committed suicide over the past decade.
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I have a bit of a weakness for photographic depictions of messy places - such as those in Gustavo Sanabria’s Talat Noi.
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This is an image from Youngsuk Suh’s Wildfires - a series of landscapes with the fires only present in the form of a diffuse smoke.
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This is one of the great portraits from Graham Miller’s Waiting for the Miracle. Also don’t miss Suburban Splendour, which I like just as much.
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Kirk Crippens’ The Great Recession comes in three parts: Foreclosure, USA, Dealership Wreck, and Chopping Block. There’s a great photobook to be produced right there!
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“The evidence of man defines our modern landscape and is overwhelming and beautiful.” - Paul Yem in his statement for The Modern Land
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For Breathing Walls, Rhea Karam has photographed walls in Beirut, Lebanon, to find the traces of the city’s more than tumultuous past.
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Jamie Campbell’s Looking Askance “examines the skepticism based around photography as a medium of objective representation,” in part by using references to work such as “spirit photography.”
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Sur la trace du renard by Louis Perreault documents signs of occupation in an otherwise vacant lot.
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Outback, by Andrew Babington, “is a series of eight large-scale constructed photographs, depicting fictional narratives based in the Australian rural landscape and the fears of the outback that have been represented and exploited in film, literature, art and journalism since colonial times.”
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“In patriarchal Indian society, being a kothi (an Indian term for effeminate and transsexual man) is still a matter of shame. The social stigma is a serious barrier to joining mainstream occupations. To earn a living, some kothis become launda (drag) dancers. For poor families from the interiors of UP and Bihar looking for a grand wedding, boys in drag become a cheap substitute for dancing girls.” - Chhandak Pradhan about Lipstick Men
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Yero Adugna Eticha was born in Ethiopia and now resides in Berlin. Tulu Gedo portrays the little Ethiopian village where the photographer’s grandmother lives.
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“It was only recently that I decided on a name for this series: Off Route 80. Before that the work done in Grapevine Hollow, West Virginia, since 2006 was provisionally called New Landscapes. My reticence in giving the series a title stemmed from a desire to resist naming a specific place or region, in this case Appalachia with its negative connotations dating back from before the Civil War. To do so would be declaring the work a documentary record -which of course it is, albeit a highly subjective one, belonging to a tradition where the artist admits to being part of the situation portrayed.” - Susan Lipper. Make sure to look at the images individually, and don’t miss the videos!
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Unreal City by Hannah Darabi uses construction sites in different countries to approach new environments, focusing on what you could think of as the setting of the stage.
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This is an image from Erin Hernsberger’s Suture - a somewhat unusual series of still lives.
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Lisa Adamucci’s Eat A Peach portrays life on a peach farm.
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About As You Were Ryan Handt writes: “In this work, I study the relationship between the people in my history who have dealt with hardship and myself.”
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“Physical Realities of Death deals with the themes of the values of living, the masculinity role and death. These fundamental issues are intriguing but often not easy to bring into conversations. Through careful academic research and interviews with patients and healthcare workers, a collection of stories and information is being retold through the character - Toivo Laukkanen, played by Mr. Tapanai Muranen street-cast by the artist.” - Tristan Cai
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“Outsiders have long fictionalized the narrative surrounding Appalachia. As a resident of West Virginia I have always been aware of the views others hold of my home, and they have guided me to create my own version of life in the hills. My Appalachia is a granulated depiction based on the false impressions of others, my idealizations and personal experiences.” - Aaron Blum
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Slab City by Claire Martin is a magnificent body of work, portraying a community of squatters in the Colorado Desert.
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People who have gone to art school (or have taught at one) might recognize a thing or two in Adam Pape’s Art Works Because I Do.
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“This photographic series is informed by sensory-memory retrievals from these moments of my early childhood, a time when I was afflicted by a severe visual impairment, a condition known as Exotropia. These images are an attempt to recreate the distortion as well as the feeling provided from exotropia’s out of body experience.” - John Rohrer
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The Burn by Jane Fulton Alt contains images of controlled prairie burns, using the process as a metaphor for creative destruction.
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This is an image from Zane Davis’ Chicago River.
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Aaron Hobson’s Cinemascapes were created using Google Street View, staying clear of both gimmicky ha-ha effects and of documentary ideas.
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What facial expressions do we make when we sing in the shower? asks Noel Manalili with his project Rapture.
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Brian Kaplan’s I’m Not On Your Vacation portrays Cape Cod as a bit of a melancholic, quiet place.
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Truer by Sophia Wallace is an autobiographical body of work about love and female desire.
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Updating the contemporary vanitas still life: Tara Sellios. I suppose “Lessons of Impermanence” might easily also be called “The Splendid Table.”
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This is an image from Natasja Marie Fourie’s intense Time.Space.Woman.
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Steve Eiden’s In Search of the Miraculous is a portrayal of organized Christianity in the US. Also don’t miss his project Looking Toward Fort Sumter, focusing on the American Civil War.
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In Pablo López Luz’s Natura small human figures, enjoying themselves, are embedded in large, often almost overwhelming vistas, placing the focus not on the people but on the world they’re acting in.
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Valentina Riccardi’s And suddenly they became family is filled with great images.
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This is an image from Tomas Cochello’s Thirsty Roots.
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This is an image from Anthony Hamboussi’s La Petite Ceinture, taken in Paris.
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This is an image from Irina Rozovsky’s new project In Plain Air. If you’re curious about seeing the book version of One To Nothing check out my photobook presentation.
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“Between 2004 and 2009, I photographed vacated industrial facilities in Canada and the United States, mainly asbestos refineries, steel mills and chemical plants. Their back stories are familiar to many: once booming industries unable to face the challenges of changing markets became mothballed, decommissioned, bankrupt.” - Andrew Emond
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“American Weekend is an ongoing project that deals with how We Americans deal with our limited amount of time off at the end of the week and all the nuances that it entails.” - Hollis Bennett
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Nguan’s These Times is street photography in around New York’s Times Square, the “family-friendly neon play land, […] an explicit target for terror attacks,” to use the photographer’s words. Very well seen, very well done.
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I really like Natalie Krick’s New Work (which, I suppose, at some stage will get a proper title) - it’s filled with all kinds of details, and the resulting images are visually arresting.
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The panorama isn’t seen very often in art galleries, for, I suppose, a variety of reasons. It’s a very tricky format. Dylan Vitone’s panoramas are assembled from individual photographs, but they’re not digitally stitched. Compelling work that is more complex than it might seem: People might appear more than once so that a story is told; or the curtain might get pulled back, revealing the drama or absurdity of contemporary life. The example above (click to see a larger version) is from Miami (I just had to pick a photo that had something to do with photography itself).
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I find Klea McKenna’s Slow Burn a bit uneven - I like some images way better than others - but I really like the play with the physicality of the object, in this case the negative.
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“The Island is an ongoing project that documents life on the Outer Banks of North Carolina. The long and narrow string of barrier islands for many is a vacation destination. For me, it is much more. It is a place where I fell in love, married and hope to one day raise a family. The Island is my connection to a place that like the tide has its highs and lows.” - Tim Gruber
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Julie L. Sims’ Uncharted Territory: Anatomy of a Natural Disaster uses natural disasters as metaphors for depression or other psychological disorders.
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I suppose it’s easy to see how Investigations by Dogan Arslanoglu fits into many of the current debates about contemporary photography and its use of images.
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“True West calls into question the seeming American fascination with the American West. […] Visually, the photographs in True West are images of images.” - Chris Toalson
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Ignacio Torres’s Stellar uses animated gifs, and I’m really liking it. I’ve often wondered when I’d see animated gifs put to good use. (note the animated gif will not work on the main page of this website, open the post to see it; via)
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For those loving photographs that have old cars in them, here is Mateo Pérez Correa’s version: Terrarium.
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Nils Orth’s Untitled Faces aren’t particularly flattering images, but regardless they’re quite compelling, rubbing against many photographic conventions.
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Ciudad de los Reyes by Carlos Jiménez Cahua portrays the outskirts of Lima, Peru.
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