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Deborah Parkin

My passion for photography started in earnest with the birth of my son. I had always enjoyed the photograph as an object but with his arrival came the need to record our lives. After the birth of my daughter I found that I was photographing as a way of exploring my own childhood memories as well as using it to document our lives. Photography was now becoming a means of expressing myself artistically.

In my photography I have always been drawn to the theme of childhood, whether it has been recreating my own personal memories, making images of my children and recording their childhood or working with children using ancient photographic processes.

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James Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark PlacesJames Friedman | Dark Places

James Friedman | Dark Places

During my career, I have chosen projects that have required me to visit metaphorically “dark places.” Photographing 12 Nazi Concentration Camps decades after their use was a harrowing journey into places of darkness permeated, still, with the residue of evil and violence.

A specter of darkness loomed as I documented my mother’s torturous demise from having smoked more than a million cigarettes. During her last months she encouraged me to photograph her and our relationship became more gratifying because of the time spent together during those sessions. But, while we derived pleasure from collaborating on 1,029,398 Cigarettes, our enjoyment was bittersweet as we both knew her death was imminent. The photographs my mother allowed me to make are a testament to her fierce bravery that wasn’t enough to prevent her passing at 66.

The photographs from Dark Places were made with an iPhone camera in dark places — inside the pockets of my clothing. Despite being created in such prosaic sites, these pictures satisfy the need for ambiguity, mystery and symbolic darkness in my photography.

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HANNAH | Sacred, 2011HANNAH | Boston fate box, 2011HANNAH | Armor, 2011HANNAH | My Family and Other Animals | Invitation Düsseldorf exhibition

HANNAH | My Family and Other Animals

HANNAH’s first Düsseldorf solo show, showing silkscreen prints and paintings on wood.

Opening: May 10 2012, 6 pm

Exhibition: May 10 – June 14, 2012
LANGBRETT Patagonia store
Ackerstr. 113, 40233 Düsseldorf, Germany

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Unseen | International Photo Fair Amsterdam

Unseen, Amsterdam’s first international photography fair, announces it’s inaugural 2012 edition, which will take place in Amsterdam’s Westergasfabriek from September 20 – 23.

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Anne Lindberg | raume yellow, 2010 shown in Museum Interrupted at the Nerman Museum of Contemporary ArtAnne Lindberg | raume yellow, 2010 shown in Museum Interrupted at the Nerman Museum of Contemporary ArtAnne Lindberg | raume yellow, 2010 shown in Museum Interrupted at the Nerman Museum of Contemporary ArtAnne Lindberg | canto yellow, 2011, installed in Licoes da Linha exhibition at SESC Bom Retiro Sao Paulo, BrazilAnne Lindberg | canto yellow, 2011, installed in Licoes da Linha exhibition at SESC Bom Retiro Sao Paulo, BrazilAnne Lindberg | drawn pink, 2012, installed in Placemakers at Bemis Center for Contemporary ArtsAnne Lindberg | drawn pink, 2012, installed in Placemakers at Bemis Center for Contemporary ArtsAnne Lindberg | drawn pink, 2012, installed in Placemakers at Bemis Center for Contemporary ArtsAnne Lindberg | drawn pink, 2012, installed in Placemakers at Bemis Center for Contemporary Arts

Anne Lindberg

In the installation Canto Yellow, by Anne Lindberg, the thread manages the paradox of becoming a tridimensional line, a drawing in space, while at the same time conserving the lightness of something imaginary – the lightness of an idea. Notwithstanding its undeniable physicality and space activation capability, the line has something ethereal and intangible about it. It remains in the realm of ideas.

Catalog essay by Jacopo Crivelli Visconti, curator of ‘Licoes da Lihna’ at SESC Bom Retiro, Sao Paulo, Brazil

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Darek Fortas | Coal Story | Portrait I (Miner After Work)Darek Fortas | Coal Story | Interior I (Miners’ Changing Room)Darek Fortas | Coal Story | Portrait II (Miner After Work)Darek Fortas | Coal Story | Interior II (Third Floor Canteen View)Darek Fortas | Coal Story | Still Life II (Sponge)Darek Fortas | Coal Story | Still Life III (Dragon Painting)Darek Fortas | Coal Story | Portrait VIII (Solidarity Ex-Member)Darek Fortas | Coal Story | Still Life V (Red Telephone)Darek Fortas | Coal Story | Archival Image I (Miners After Work, 1977)

Darek Fortas | Coal Story

The project is a result of an extensive photographic engagement with the two largest coal mining companies in the European Union located in Silesia, the most industrialised part of Poland.

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Neue Schule für Fotografie Berlin | Open House

On Saturday, April 21st, 2012 the Neue Schule für Fotografie Berlin will be open for public between 11 am and 6 pm.

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Lucie & Simon | Silent World | Madison square, C-print, 200x256cm, 2009Lucie & Simon | Silent World | Place de l'Opera, C-print, 250x320cm, 2009Lucie & Simon | Silent World | Queensboro bridge, C-print, 200x256cm, 2009Lucie & Simon | Silent World | Xizhimen park, C-print, 125x160cm, 2010Lucie & Simon | Silent World | Columbus circle, C-print, 250x320cm, 2009Lucie & Simon | Silent World | Radio city music hall, C-print, 200x256cm, 2009Lucie & Simon | Silent World | Chaoyangmen passage, C-print, 200x256cm, 2010Lucie & Simon | Silent World | China world trade center, C-print, 200x256cm, 2010Lucie & Simon | Silent World | Woman in manhattan, C-print, 125x160cm, 2009

Lucie & Simon | Silent World

In the Silent World project, we wanted to study and transform our world’s most symbolic metropolises into imaginary, fictional, impossible places. In our work, we always try to study and put into image the frontier between reality and the world of dreams. Our desire was to put the viewers into a puzzling and uncomfortable place, pushing him to put into question notions of time and space, but mostly our role and position towards the becoming of our world.

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Tobias Zielony, Manitoba, 2009Tobias Zielony, Manitoba, 2009Tobias Zielony, Manitoba, 2009Tobias Zielony, Manitoba, 2009Tobias Zielony, Manitoba, 2009Tobias Zielony, Manitoba, 2009

Tobias Zielony | Manitoba

Tonight at 8 pm, distributor MOTTO Berlin (Skalitzer Str. 68 HH, Berlin/Kreuzberg) will be hosting the book launch of Manitoba, Tobias Zielony’s most extensive project to date.
Tobias Zielony and Andrea Hiott will be present, the talk is moderated by Astrid Mania.

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Abelardo Morell – Camera Obscura

Camera Obscura
by Abelardo Morell

“I made my first picture using camera obscura techniques in my darkened living room in 1991. In setting up a room to make this kind of photograph, I cover all windows with black plastic in order to achieve total darkness.

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