Photographer Shawn Clover created a set of composite photographs of San Francisco, California, blending pictures from the 1906 earthquake that hit the city, with present day images. Clover collected archival photos of the earthquake’s aftermath. He then replicated the photos himself, down to the location, camera position and focal length, then the rest of the task involved high Photoshop skills. After looking at the stunning results, it’s hard to imagine today that 106 years ago, much of the city we know now was a broken wasteland of rubble. The 1906 earthquake, and its subsequent fires, destroyed much of San Francisco and killed thousands. The work of Clover reminds us of photo blends created by Sergey Larenkov in his Ghosts of WWII series. Clover’s work is broken into two parts, Part 1 was created in 2010 and Part 2 was completed a couple of weeks ago.
Voting has now closing. The winner will be announced on the 12th September.
Here you can see photos of finalist.
From undiscovered photographers to emerging artists to seasoned professionals, everyone is welcome to be a part of The Open. It exists to discover – and rediscover – the most inspiring photographers of our generation. It is for any photographer who wants to open the door to worldwide exposure, connections and opportunity.
It’s simple: photographers submit their best images in any of the 5 categories. A global audience clicks the photos they love. The most-loved images continually move to the forefront for increased exposure. Artists are encouraged to ignite their own social networks to fuel their votes. Half of the 200 finalists are chosen by public appreciation, the other half are chosen by a panel of the sharpest eyes in the business to capture the work of those who may not yet have an online following. The final judging panel awards the category winners and Photographer of the Year. The SOLO prize purse is $25,000.
More info here.
Michael Hoppen Contemporary is delighted to announce the first UK exhibition of Lucas Foglia’s beautiful and internationally acclaimed series A Natural Order, which is accompanied by the highly commended photo book of the same title.
Lucas Foglia grew up on a farm on Long Island just 30 miles from Manhattan. His parents were part of the post 1960’s “back to the land movement”. Much of the area surrounding the family home became increasingly urbanised, but his parents continued to strive for self-sufficiency. “While malls and supermarkets developed around us, we heated our house with wood, farmed and canned our food, and bartered the plants we grew for everything from shoes to dental work”.
Undertake to do a book of photographs of people with nothing more in common than that they are women (and living in America at the end of the twentieth century), all–well, almost all–fully clothed, therefore not the other kind of all-women picture book.
Start with no more than a commanding notion of the sheer interestingness of the subject, especially in view of the unprecedented changes in the consciousness of many women in these last decades, and a resolve to stay open to whim and opportunity.
Sample, explore, revisit, choose, arrange, without claiming to have brought to the page a representative miscellany.
Even so, a large number of pictures of what is, nominally, a single subject will inevitably be felt to be representative in some sense. How much more so with this subject, with this book, an anthology of destinies and disabilities and new possibilities; a book that invites the sympathetic responses we bring to the depiction of a minority (for that is what women are, by every criterion except the numerical), featuring many portraits of those who are a credit to their sex. Such a book has to feel instructive, even if it tells us what we think we already know about the overcoming of perennial impediments and prejudices and cultural handicaps, the conquest of new zones of achievement. Of course, such a book would be misleading if it did not touch on the bad news as well: the continuing authority of demeaning stereotypes, the continuing violence (domestic assault is the leading cause of injuries to American women). Any large-scale picturing of women belongs to the ongoing story of how women are presented, and how they are invited to think of themselves. A book of photographs of women must, whether it intends to or not, raise the question of women –there is no equivalent „question of men.” Men, unlike women, are not a work in progress.
Venice is a city in northeast Italy sited on a group of 118 small islands separated by canals and linked by bridges. It is located in the marshy Venetian Lagoon which stretches along the shoreline between the mouths of the Po and the Piave Rivers. Venice is renowned for the beauty of its setting, its architecture and its artworks. The city in its entirety is listed as World Heritage Site, along with its lagoon. (from Wikipedia)
The second part of the exhibition incorporates structures, shapes and forms that have been noticed underfoot, overhead or on walls and which I can envisage as being an artistic transformation of reality into a work of art, both abstract and applied.
”Estructura y verso” / “Structure and verse”
1-15 September 2012
Galeria aDa, Spain, Barcelona