Gustaf Broms, Performance Art


24 may – 30 june 2018
Galleri Fagerstedt, Sweden
Since the early 90's, Swedish performance artist, Gustaf Broms, has developed a symbolic language to better understand himself. His creative career has evolved from the time we were colleagues at the Richard Avedon Studio in the late 1980’s to his own photography, film-making, sculpture, collage-creations, and music-making; up to what he is most famous for now -  performance art.
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There is always a slight frustration making work with your own body, that you never "see" the work, only a vague feeling from the interior, the experience from "the other side" is always hidden.

One day I rigged a camera with  a time lapse setting to get a sense of  the formal aspect of an action. A durational work with the head coming out of a table, to create a situation where there would be a tension between being object and being subject.

This "tension" I experienced during a walk in the forest where I played with shifting my awareness through something like -

Being in the environment
environment as objects
objects as Beings
Beings as Self
Self as being

Even if every work initially seem to be new and independent of previous works, there is clear thread of playing with perceived borders, moving between identifying with MIND, as an experience of life as an intellectual process, and being NATURE, as identifying with being body.

The focus on this "gap", seem to reappear, and I wonder if I am trying to make a work to heal this gap?

I understand this rupture, as if our senses have evolved as tools to preserve the biological vehicle, rather than to read reality. This view of the world, based on the senses, creates an experience of seperation from our environment, this misconception has taken over our sense of place in the universe? A confusion also rooted in human arrogance perhaps? Can I trace this "wound" as a root of conflict?

Whether I look at what human do to human, human to other non-human beings or human towards environment? 

An illusion of border of skin as border of self - creates illusion of "OTHER" ? 

Even if experience and science tells me that existence is more perforated, no clear beginning or end between beings and environment? Air and water flow through me, inside and outside are superfluous? In whatever form my work is presented, ephemeral or material, there always seem to be BODY SPACE-TIME that are central, both as materials and as content of the work.

In my studio there is a lot of organic matter, beings in different states of decay and transformation, to insert my own head in this scene, made a clear echoe to the Vanitas tradition, the first image in this series is a conversation with that tradition. Those paintings that are concerned with time and space (change and emptiness) the dialogue came very natural.

Seeing this first image as an object (a print), I was again reminded of the power of a photograph, after years of not working with this form. Even though my first steps into making visual works, was being trained as a photographer. After pursuing image making through light and chemicals, a feeling of frustration slowly grew with the constrictions of 2 dimensions. In 1993 in an act of sheer desperation, I burnt all my works, and through this fire, realized the power of the ACTION.

The intensity of this experience eventually moved me towards making actions and performance work as my main form.

Vanitas vanitatum omnia vanitas
"Tomhet, idel tomhet, allt är tomhet"
from the Ecclesiastes, and in the Vulgate 1:2; 12:8

– Gustaf Broms, in the snow 2017 

24 may – 30 june 2018
Galleri Fagerstedt
Hälsingegatan 18,
113 23 Stockholm, Sweden 

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ATLANTA + DAVID CAROL: Street Shooting Workshop, Galleries and Museums

Bubble Paris © David Carol

Who Cares © David Carol

 © David Carol

Join Them...

Thursday, May 17th

Join South X Southeast Workshop and Gallery's Nancy McCrary and Photographer David Carol at 6 pm for a Welcome Dinner at the home of one of Atlanta’s premiere Photography Collectors. David will give a presentation of his work, and we’ll talk about the agenda for the following two days, while we dine on nouveau Southern cuisine in a fabulous setting amidst great photography.

Friday, May 18th

The day begins at 11 am when the group meets at the Hyatt Midtown, 10th and Peachtree, for a lunchtime stroll down Peachtree Street shooting with Photographer David Carol. David will focus on how to notice your surroundings, be in the moment and “feel” the movements and actions of the people, and how to translate that into a photograph. All this in the heart of downtown Atlanta.

Easily accessible from the Hyatt …

    • Margaret Mitchell House and Museum (2-minute walk)
    • High Museum of Art (9-minute walk)
    • Georgia Institute of Technology (12-minute walk)
    • Atlanta Botanical Garden (14-minute walk)
    • Piedmont Park (14-minute walk)
    • World of Coca Cola (21-minute walk)
    • Georgia Aquarium (23-minute walk)
    • College Football Hall of Fame (26-minute walk)
    • Mercedes-Benz Stadium (30-minute walk)

Saturday, May 19th

The class will meet in the atrium of the High Museum at 9:30a for a 10:00a docent’s tour of the exhibition Mark Steinmetz: Terminus

The High Museum of Art began collecting photographs in the early 1970s, making it among the earliest museums to commit to the medium. Today, the High’s photography department is one of the nation’s leading programs and, with some 6,500 prints, comprises the Museum’s largest collection.

The High Museum of Art will debut more than 60 new works by Athens-based photographer Mark Steinmetz commissioned for its “Picturing the South” series in Mark Steinmetz: Terminus on view through June 3, 2018. Established in 1996, “Picturing the South” is a distinctive initiative that asks noted photographers to turn their lenses toward the American South to create work for the High’s collection. For his commission, Steinmetz focused on air travel and Atlanta’s Hartsfield–Jackson International Airport—the most heavily trafficked airport in the world. Taking its title from Atlanta’s original name, the exhibition closely considers the activity and interactions that make the airport the crossroads of the New South.

Lots More Info and How To Sign Up on South X Southeast Gallery's website


LANDSKRONA FOTO DUMMY BOOK AWARD 2018: Applications Open Now to June 15th

Duccio Doretti, The Winner
Landskrona Foto Dummy Book Award 2016


ABOUT: Landskrona Foto is one of the most important institutions in Scandinavia for photographic mediation, research and conservation. The key activities for Landskrona Foto are exhibitions, photographic history, research, the conservation of the photographic heritage, an annual photo festival and support for contemporary artists. Landskrona Foto regularly publish photography books and exhibition catalogues and The Dummy Award has existed since 2015 in collaboration with Breadfield press. The Dummy Award is also part of Landskrona Foto Festival, one of the most talked about photo festivals in northern Europe. The ambition for the festival is to show art photography of the highest international class from a blend of countries. The festival is also an important meeting place for photography professionals with a portfolio review, dummy award, workshops, photobook days, a large number of exhibitions, artist talks, seminar and much more.

WHAT WINNERS RECEIVE : Landskrona Foto Dummy Book Award enables the winner to have his or her book project published by Breadfield Press and Landskrona Foto.
 The prize includes all expenses for book production such as design, printing and distribution. The photographer will also receive a large number of books to dispose over and sell. The book will be printed in 600 copies. The prize is valued at approximately 15.000 euros. The winner will be invited to this year festival to receive the award simultaneously as the release party of last year’s winner Gloria Oyarzabal ́s book Tchombé. By entering for the Landskrona Dummy Award 2018 you will also be part of a slide show that will be screened during the Photobook days. This means that all applicants will be part of this year ́s Landskrona Foto Festival.

HOW TO ENTER : Enter your unpublished, self-published, digitally published or produced by print-on-demand, e.g. blurb. photobook pdf by submitting a link where we can download it from. Make sure to also upload jpegs images from your book, that we will use for the screening. These images can be pages from your pdf or photographs of a physical copy. You will be asked to provide a download link to a pdf version of your book. Please provide a link to a file host of your choice. The file should be stored and available to download for at least three months. We recommend using Google Drive or Dropbox. Enter here.

Deadline June 15, 2018
Winner Announced: August 1, 2018
Prize Ceremony: September 14, 2018
Any questions? Please contact festival@landskronafoto.org 

The Jury This Year

Elizabeth Avedon (Curator), United States
Jenny Rova (Photographer), Sweden and Switzerland
Gerry Johansson (Photographer), Sweden
Tommaso Parrillo (Publisher), Italy
Tony Kristensson (Gallery Breadfield), Sweden

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September 14 – 23, 2018

The Landskrona Foto Festival 2018 will be ten days of exceptional exhibitions, photo books, seminars, portfolio reviews, artist talks and more! The city of Landskrona, Sweden, founded in 1413, is on the coast of Skåne, between Malmö and Helsingborg, diagonally across the Sound is Copenhagen. A great destination. Don't miss it!


SARA TERRY: Forgiveness + Conflict. Landscapes From Nelson Mandela's South Africa

 (1) East London City Hall Hearing Room
Photograph © Sara Terry 

complete captions below. click on images to enlarge

 (2) Site of the Battle of Paardeberg
Photograph © Sara Terry

 (3) Brandfort
Photograph © Sara Terry

(4) Liliesleaf Farm
Photograph © Sara Terry

(5) Limestone quarry, Robben Island, Western Cape
Photograph © Sara Terry

Text and Images by Sara Terry
Exhibition through May 26, 2018

I resisted including South Africa in this project for a long, long time.

Over the years, when people asked about my work – and heard the words “reconciliation” and “Africa” come out of my mouth – they almost always leapt to the same conclusion without hearing another word: “Oh, you mean like the Truth and Reconciliation Commission in South Africa?”

No, I would say, not really. I’m looking at traditions and attitudes deeply embedded in African culture – like mato oput in Uganda, or fambul tok in Sierra Leone. It’s true, I often used the South African word ubuntu when talking about my work. I leaned heavily on its rich meaning (which loosely translates as “because you are, I am”) to explain the extraordinary human interconnectedness I found rooted in the traditions of truth-telling and forgiveness that I was exploring.

But the TRC of South Africa? I didn’t think it fit. For one thing, it seemed to me to be as much a Western proceeding as it was an African one, with formal hearings and reports in equally formal settings. I was also aware that although the TRC was given high marks for many things – including its “truth” mandate of finally putting on record the horrific abuses of the apartheid era – it was also sharply criticized in many quarters for falling short of its goals, particularly its “reconciliation” mandate. So, no, I would say, not really.

As time went by, however, I began to re-think my work. If most people I encountered in the West consistently referenced the TRC when talking about reconciliation in Africa, then perhaps I needed to include it – to create a bridge, of sorts, to bring people farther into the heart of my project. The more I thought about it, the more sense it made. After all, despite the TRC’s shortcomings, it was still a monumental achievement. And so was the fact that for the first time on the African continent, a minority white power had willingly (in the end) conceded governance to the black majority. And then, of course, there was Nelson Mandela – the extraordinary human being who embodied forgiveness and reconciliation with breathtaking grace in almost everything he did after being released from prison and becoming his country’s first democratically-elected president in 1994.

But how to do the work – that took me quite a while to figure out. At one point, I thought about making portraits of former political prisoners who had forgiven their prison guards, and of the guards who had been forgiven. I had met a few of those former prisoners, who now serve as guides at the former Robben Island prison, but ultimately that route seemed too contrived, and not a genuine representation of a country that was still working through deep divisions.

I thought for a while that I would search out the places where the TRC human rights abuses hearings were held – the more than 50 locations where the dark stories of the past were told, where victims came to finally be heard as they recounted what had happened to them, where offenders came to tell what they had done. I thought about making environmental portraits of the locations and trying to find people who had testified. But this, too, seemed too academic, too contrived.

In the end, I let South Africa guide me to the story I needed to tell. I arrived in May, 2013, still unsure of my direction. I asked questions and listened to what South Africans, black and white, had to say about how far their country had – and hadn’t – come over the past nearly twenty years of democracy. Again and again, I heard the acknowledgment that reconciliation was still an elusive goal, one that might belong to the “born free” generation, the youth born after the fall of apartheid.

“We have a long way to go in our attitudes towards one another,” my black taxi driver said, as we drove from the airport into Johannesburg. “It will be some time before we are truly a rainbow nation.

“We have to reconcile in our daily lives,” he said. “You cannot leave that to the TRC. That was an institution that existed for a limited time.”

As I thought on these conversations, I found myself drawn to the land – and the landscapes – of South Africa. I began to seek out places of contemporary and older history where memories still lingered of events that had defined the country’s past – and thus helped shape its future. I drove across much of the country, and back again, seeking out sites that had shaped both black and white history in South Africa, sites that in many ways linked the two groups in ever evolving ways as passing years created new histories. I found battlefields, graveyards, monuments, memorials, new beginnings and old sorrows, each a wordless testament to a country still struggling to become its best self. 

The land, in fact, is where much of the story of South Africa has always played out – from the early displacement of blacks by whites seeking new destinies, to the discovery of diamonds, to bitter battles, to legislation passed 100 years ago by whites that deprived blacks of land ownership in all but marginal sections of the country (legislation that was overturned by the post-apartheid government). And land is where much of South Africa’s story continues to play out today – from the discovery of mineral deposits on communal lands and secret deals between mining companies and tribal leaders, to continued battles over land restitution claims resulting from the apartheid era.

“Each one of us is intimately attached to the soil of this beautiful country,” Nelson Mandela said in his inaugural speech in 1994. He understood perfectly that the land of his beloved South Africa was inseparable from the identity, the hopes and dreams, of its people. 

These are his landscapes, the landscapes of South Africa’s memory – the landscapes of its future. Read More Here

Forgiveness + Conflict: 
Landscapes from Nelson Mandela's South Africa

Photographs by SARA TERRY
Exhibition through May 26, 2018

United Photo Industries Gallery
16 Main St, Brooklyn, NY 11201

Photographer Sara Terry and UPI/Photoville Co-Founder's Sam Barzilay and Dave Shelley (not shown), generously explaining both the history behind this must-see series, as well as the importance of the sequencing of the exhibition, to my School of Visual Arts BFA Photography and Video program Professional Community students.

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Sara Terry is an award-winning documentary photographer and filmmaker, and a member of VII Photo, best known for her work as a post-conflict storyteller. She won a 2012 Guggenheim Fellowship for her long-term project, “Forgiveness and Conflict: Lessons from Africa.” While working on her first long-term post-conflict work, “Aftermath: Bosnia’s Long Road to Peace,” she founded The Aftermath Project in 2003 on the premise that “War is Only Half the Story.” A grant-making, educational non-profit which supports photographers working on post-conflict stories, The Aftermath Project is celebrating its tenth anniversary with a book published by Dewi Lewis and a traveling exhibition in 2018. An accomplished speaker on aftermath and visual literacy issues, Terry’s lectures include a TedX talk, “Storytelling in a Post-Journalism Word,” and several appearances at The Annenberg Space for Photography. Terry has also directed and produced two feature-length documentaries, Fambul Tok (2011) and FOLK (2013). Fambul Tok, about a groundbreaking grass-roots forgiveness program in Sierra Leone, premiered at SXSW in 2011, and grew out of her long-term photo project, “Forgiveness and Conflict: Lessons from Africa.” It was supported by the Sundance Documentary Institute, played at over 100 festivals around the world and was hailed by Paste magazine as one of the best 100 documentaries of all time. Terry became a photographer and filmmaker after a long, award-winning career in print and public radio. She is currently working on her third documentary, “That’s How We Roll,” about mobile home parks and the affordable housing crisis

(1) East London City Hall Hearing Room: EAST LONDON, EASTERN CAPE PROVINCE, SOUTH AFRICA. The room where the first human rights violation hearing of the Truth and Reconciliation Commission was held from April 15 -18, 1996. Chaired by Archbishop Desmond Tutu, the commission held a series of hearings across the country, taking the testimony of more than 21,000 victims of the apartheid regime. The TRC – with a mandate that included the possibility of amnesty for perpetrators of the regime – was an integral part of the agreements that led South Africa’s white Afrikaner government to agree to democratic elections, which in turn led to the election of Nelson Mandela as the country’s first black president in 1994. However, the hearings were also widely criticized for allowing the highest-level perpetrators (on all sides) to avoid testifying or being held accountable for their crimes. Although the TRC accomplished the monumental task of bringing the abuses of the apartheid era into the open and on to the country’s history books, “reconciliation” remained – and remains today – an elusive goal. May 2013. 

(2) Site of the Battle of Paardeberg: ORANGE FREE STATE, SOUTH AFRICA. One of the major battles of the Anglo-Boer War of 1899-1902. On February 18, 1900, British forces began the siege of Boer soldiers led by General Piet Cronje. Ten days and several bloody battles later, the Boers surrendered. The soldiers numbered over 4,000 men – nearly ten percent of the Boer army. The victory was the first significant British win of the war, which lasted from 1899 to 1902, and ended with the Boer republics becoming British colonies. The conflict – and the brutal tactics of the British – helped fuel Afrikaner nationalism and a sense of victimization that were part of the Afrikaner mindset behind the creation of the apartheid state in 1948. May 2013.

(3) Brandfort: ORANGE FREE STATE, SOUTH AFRICA. The remains of information plaques that once held details about the concentration camp for Boers that stood on this site during the Anglo-Boer War. The camp, one of 45 created by the British for Afrikaner during the war, operated from January, 1901, to March, 1903; a total of 1,263 women and children died here. The British practiced a brutal scorched earth policy against Boer farmers during the war. They created tented concentration camps to house those burned off the land, mostly women and children, a policy that is widely considered to be the first modern use of concentration camps in war, and which outraged the British public when news of the camps was revealed. Black South Africans were also placed in concentration camps, where they died in greater number than Boers, a fact often omitted in Afrikaner writings about that period. This memorial site, once carefully tended during the apartheid era, is now completely overgrown and neglected. In 1977, under the apartheid regime, Winnie Mandela, then the wife of Nelson Mandela, was banned to Brandfort by the government for her anti-apartheid activities. May 2013. 

(4)  Liliesleaf Farm: JOHANNESBURG, GAUTENG PROVINCE, SOUTH AFRICA. In the early 1960s, Liliesleaf Farm was secretly used by members of the African National Congress, including Nelson Mandela, who lived at the farm under the assumed name of David Motsamayi, as a worker in blue overalls employed by the owner to look after the farm. In a crushing blow for the ANC and its armed wing, Umkhonto we Sizwe, South African security forces raided the farm on July 11, 1963, capturing 19 members of the underground as they were meeting to plan attacks on the government. The raid led to the Rivonia Trial (named after the neighborhood in which Liliesleaf stands), in which ten leaders of the ANC were tried for 221 acts of sabotage, which the government said were designed to “foment violent revolution.” Mandela was among those sentenced to life in prison; he was sent to Robben Island, where he served 18 of his 27 years in captivity. Today, the farm is a national museum, dedicated to keeping awareness of the early liberation struggle alive. May 2013.

(5) Limestone quarry, Robben Island, Western Cape: Political prisoners, including Nelson Mandela, were forced to work here, crushing rocks, under conditions so severe that many prisoners suffered eyesight and respiratory problems. The pile of rocks in the center of the quarry was created in 1995, when former political prisoners returned to Robben Island. At one point, Mandela, who had been elected president of South Africa in 1994, stepped away from the group, picked up a rock and dropped it on the ground in the middle of the quarry. One by one, his colleagues followed suit, creating the pile of stones that has remained untouched. Robben Island has been named a UNESCO World Heritage Site. May 2013.


MICHELLE KINGDOM : Dearer Than Truth

Without Question - 12” x 16”
Embroidery © Michelle Kingdom

The Stars Were Long Gone - 11” x 15”
Embroidery © Michelle Kingdom

Precisely Red - 12” square
Embroidery © Michelle Kingdom

Michelle Kingdom | Dearer Than Truth

"My work explores psychological landscapes, illuminating thoughts left unspoken. I create tiny worlds in thread to capture elusive yet persistent inner voices. Literary snippets, memories, personal mythologies, and art historical references inform the imagery; fused together, these influences explore relationships, domesticity and self-perception. Symbolism and allegory lay bare dynamics of aspiration and limitation, expectation and loss, belonging and alienation, truth and illusion."

"Decidedly small in scale, the scenes are densely embroidered into compressed compositions. While the work acknowledges the luster and lineage inherent in needlework, I use thread as a sketching tool in order to simultaneously honor and undermine this tradition. Beauty parallels melancholy, as conventional stitches acquiesce to the fragile and expressive.” – michellekingdom.com

Michelle Kingdom | Dearer Than Truth
Opening April 4th from 6-8pm
April 4 – May 13, 2018

Foley Gallery
59 Orchard St, NY NY
Foley Gallery is open Wed through Sat 11 – 5:30pm
and Sun from 12-5pm.

Also at showing at Foley Gallery
Utopia | Ina Jang


LESLIE JEAN-BART : Memories of Childhood

'The Pull from The Sea'
© Leslie Jean-Bart 2018
double-click to enlarge images

'Strolling' and 'Contrasting Views'
© Leslie Jean-Bart 2018

"The sea is magical to me. That is something I became aware of at an extremely early age when my older brother and I started to swim in the ocean where, during the summer in Haiti, we would spend countless hours of absolute delight. These memories have nourished and sustained me somehow. By the sea I can regain my balance, by the sea I can think clearer, by the sea I can create, and by the sea I can be a child again without care what others may think." – Leslie Jean-Bart

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One of my favorite photographers, Leslie Jean-Bart, is featured in the "Portfolio Showcase" exhibition ‘Memories of Childhood’ at Davis Orton Gallery. Also showing are Michal Greenboim,  Kev Filmore and Flynn Larsen. Opening Celebration and Artist Talk Saturday April 7th from 5-7pm.

‘Memories of Childhood’
 Michal Greenboim and Kev Filmore
 Leslie Jean-Bart and Flynn Larsen
April 7th - May 6th, 2018
Hudson, NY


SUSAN KEISER: Portraits in Beacon New York

© Susan Keiser 2018

© Susan Keiser 2018

Opening Sat April 14, Reception 6-8pm

Catalyst Gallery
137 Main St
Beacon, NY 12508

Barbaric Glass
© Susan Keiser 2018

One of my favorite Susan Keiser series is Barbaric Glass. "I grew up in a house of secrets. From the outside, it was an ordinary white-picketed colonial on a dead-end street. But past the eagle doorknocker, the only constant was that what happened within was private, never to be verbalized much less shared. Homes are supposed to be sanctuaries, but there was no safety there." Read more here

 A River Made of Time and Memory
© Susan Keiser 2018

Susan Keiser is the recipient of a National Endowment for the Arts grant, she was a resident teaching artist at the Lincoln Center Institute, New York, NY; curated a collection of handmade paper art for The Neurosciences Institute, La Jolla, CA; and was selected for the viewing program and Artist Registry of The Drawing Center, New York, NY. She has created site-specific installations commissioned by public and private institutions. As Senior Editor at Oxford University Press, she was responsible for establishing their academic and scholarly journals program in the United States, acquiring titles in fields ranging from fine art to cultural studies and from neuroscience to Holocaust studies. Read more here 


JENNIFER McCLURE: Divining the Personal

Untitled from the series “Laws of Silence“ 
Photograph © Jennifer McClure
double-click to enlarge

Untitled from the series “Laws of Silence“ 
Photograph © Jennifer McClure 

Untitled from the series “Laws of Silence“ 
Photograph © Jennifer McClure 

“When something is festering in your memory or your imagination, laws of silence don't work. It's like shutting a door and locking it on a house on fire in hope of forgetting that the house is burning. “ – Tennessee Williams, Cat on a Hot Tin Roof 

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I’m a huge fan of Jennifer McClure’s intimate introspective images. Fine art and documentary photographer - and founder of the Women's Photo Alliance - Jennifer McClure is one of the most interesting contemporary voices in photography today. She uses the camera to ask and answer questions and turned the camera on herself after a long illness limited her access to other people. Join Jennifer for a week of storytelling, "Divining the Personal: How To Bring Your Life to Your Projects,"at the Maine Media Workshops in June.

I first interviewed Jennifer McClure in 2014, when her work won an award in the Castell Photography Gallery’s sixth annual exhibition I juried, NEXT: New Photographic Visions, following in the footsteps of my mentor, collector and curator Wm. Hunt. Our Interview below:

L’Oeil de la Photographie Magazine, Fall 2014

JENNIFER McCLURE is a fine art and documentary photographer based in New York City. Born in Virginia and raised all over the Southeast. “As the child of a Marine she moved frequently and traumatically. She decorated her walls with traces of her past; photographs became anchor points.” After acquiring a B.A. in English Theory and Literature, she returned to Photography in 2001, taking classes at the School of Visual Arts and the International Center of Photography. She is currently a teaching assistant at ICP. Her work has been exhibited in numerous shows and publications, and most recently was awarded CENTER’s Editor’s Choice by Vanity Fair’s Susan White.

EA: Is your photograph, Untitled, part of an ongoing series?

JM: This image is from a series called “Laws of Silence“, which is about personal mythology and fear of letting go of the life I was programmed to live. I was taught that having a family and a home and a church and a regular job meant that I was successful. My own family life was difficult and displaced, not something I wished to replicate, and left me distrustful of both people in general and the whole idea of the American Dream. I didn’t buy into any of it, but I didn’t know how to rewrite the story line. Eventually I realized that l don’t have to, that I just have to be comfortable with the unknown. The water is an important part of this series because I had a bad experience in the water as a child; I love the water but I’m also afraid of it. I often feel the same way about people. I’ve learned that neither is as scary as I’ve let them become in memory, that what feels overwhelming can actually be soothing and healing.

EA: Can you tell us something about the experience of shooting this image? What captured your attention to take this photograph? 

JM: I wanted to show the experience of immersing myself in something that terrifies me, of feeling lost and groundless but doing it anyway. I had just put myself out there in a personal relationship and it didn’t work out, so I was feeling very vulnerable. I wanted to disappear. I had only intended to show myself awkwardly underwater with no real frame of reference, and the bubbles were an unexpected surprise. We shot it in my friend’s pool with a cheap underwater camera. We both had to go under at the same time and shoot blindly and hope for the best. I had no idea if we got anything until I got home.

EA: Is there a quote  – your own or anyone else’s – or descriptive paragraph to accompany your image/this series?

JM: ……I read that Thomas Roma likens the making of photographs to Robert Frost’s idea of making a poem: “A poem begins with a lump in the throat; a homesickness, a lovesickness.” My pictures come from that emotional space of longing, of wishing for things that never were and might never be. I don’t know if I’m telling a story as much as trying to find a way out. I can only see a feeling clearly when I disarm and immobilize it, pin it to the wall and examine it with the others.

EA:  How did you originally get involved in photography?

JM: I shot a little for an independent newspaper in college, but I never took classes. I was en English Lit major, and I didn’t realize the storytelling power of photography until much later. I started taking continuing education classes at SVA and then moved to ICP. I was shooting anything and everything. The first real series I did was about nine years ago. I had just gotten clean and sober but I wasn’t really comfortable with the idea. I put an ad in the Village Voice to photograph substance abusers. We spent a lot of time together, and I got to ask them the questions I was afraid to ask of myself. We had different circumstances, but the same emotions and desires and needs, the same flawed coping mechanisms. This is what fascinates me, whether I am photographing myself or others: how we come to be the people we are, and how we choose to handle the lots we are given. Since then, I’ve continued to take classes that focus on this aspect of photography, the emotional rather than the technical.

EA: Is there a photography icon you met, would like to meet, or wish you had met, that has influenced or inspired you? 

JM: I recently met Sophie Calle at an opening. We weren’t introduced, but I told her I loved her show and I took a picture of her feet. I would love to have a conversation with her. The photographer who has had the biggest influence on me is Amy Arbus. I took her class as a student and then continued on for many years as a teaching assistant. I can’t begin to condense everything I learned from that experience, but here’s the most important: there is often a huge difference between intention and execution, there is no shame in reshooting, you must be genuinely interested in your subjects, and your photos have to tell a story. I was also lucky enough to meet Elisabeth Biondi. Her editing skills and advice are truly phenomenal.

EA: Apart from developing a great body of work, what are your objectives; what are you working on NEXT?

JM: I’m starting a new project on single people. I read recently that more than half of all Americans are now single. Some are happily single, some are looking, and some have given up. I’m looking to photograph all types, all ages. I can’t wait to hear these stories.

Divining the Personal:
How To Bring Your Life to Your Projects
Date:  Jun 17 – 23, 2018

 Maine Media Workshops
70 Camden Street
Rockport, Me. 04856
toll-free 877-577-7700

Photograph © Jennifer McClure


LYDIA PANAS : Studio Bizio Edinburgh Scotland



...for in every woman, there is a girl. – Salma Hayek
Lydia Panas is a highly respected fine art photographer whose work has been shown in numerous museums, including the Scottish National Portrait Gallery and the National Portrait Gallery in London.  Residing in the United States she has been the recipient of numerous awards and honors including a Whitney Museum Independent Study Fellowship and the Taylor Wessing Portrait Competition at the National Portrait Gallery.

The cross section of work exhibited at Studio Bizio spans a period of twenty years and provides viewers with insight into the depth of the artist’s voice.  The works selected for the exhibit are from four separate bodies of work, shown for the first time in the UK.  The works are melancholy with a clear eloquence of the subjects, human or otherwise.  Lydia Panas lives on her family’s rural estate and chooses to photograph her subjects with an earnestness that is all but indistinguishable from love. She has been active professionally as a fine art photographer since the 1980’s. 

Gallery Opening Exhibition
March 15th, 2018, 6-9pm
through April 30, 2018

20a Raeburn Place
Stockbridge, Edinburgh EH4 1HU
Director:  Joanna Black
RSVP # 0777-558-3675

Our framer Kate with one of Lydia’s images

New Gallery "Studio Bizio" opens in Edinburgh

I first started corresponding with Studio Bizio Gallery Director Joanna Black in 2011 from seeing her own photographs on a blog post back in the day. Many of you will remember her as a photographer at Review Santa Fe, or top 200 finalist for Critical Mass and the IPA Awards. Congratulations Joanna Black on your new venture!!!


LOUIE PALU : Front Towards Enemy

Front Towards Enemy, Yoffy Press
Documentary Photographer Louie Palu' Deconstructed Book

 Front Towards Enemy
Zhari District, Kandahar Province, Afghanistan - An Afghan soldier eats grapes during a patrol in Pashmul in Zhari District, Kandahar Province, Afghanistan. Jul 12, 2008 © Louie Palu/ZUMA Press

 Front Towards Enemy
A US soldier illuminates the legs of a comrade critically injured by an improvised explosive device attack at night on their armored vehicle for the flight medic flying with the 101st Airborne Combat Aviation Brigade who is organizing the evacuation of the wounded via a MEDEVAC helicopter to Kandahar Airfield, Kandahar, Afghanistan. © Louie Palu/ZUMA Press/New America Foundation

 Front Towards Enemy
U.S. Marine Lcpl. Damon "Commie" Connell age 20 who is part of Alpha Company of the 24th Marine Expeditionary Unit (MEU) Battle Landing Team (BLT) 1/6, after a patrol in Garmsir District, Helmand Province, Afghanistan at Forward Operating Base Apache North. Located in Southern Helmand Province, Garmsir has been a haven for insurgents for the last several years. Earlier this year the Marines cleared the area after a period of heavy fighting. Damon is from Las Vegas NV and this is his first tour of Afghanistan. © Louie Palu

"Front Towards Enemy is a deconstructed photobook showcasing the distinctly different ways award-winning photographer Louie Palu documented the war in Afghanistan over the course of five years. The power of Palu's images extend beyond one specific conflict to make a statement about the chaos of war and the ways media influences our perception of armed conflicts." – Yoffy Press

I usually don't like to view unbound books. They generally seem cooked up by the book designer trying to make a design statement, regardless of its effect on the photography. However, in the case of Front Towards Enemy, the mastery of documentary photographer and film maker Louie Palu's powerful images bring a cohesive message to this 'deconstucted' book – and I am appreciating each and every individual portion.

Front Towards Enemy begins with a cardboard slipcase with four components: an accordion fold image set, large almost 9x12" soldier portrait cards you can frame or display individually (I've taped mine in a row staring at me on the wall), a newsprint publication, and a staple-bound zine. The entire publication can also exist as a pop-up exhibition and comes with a diagram and instructions. 
As a huge fan of Mr. Palu's work, I am in awe of this collection and highly recommend it to all!

Photographs by Louie Palu
Essay by Rebecca Senf 
60 images in total
Edition of 750
Front Towards Enemy
Photographs © Louie Palu

 Front Towards Enemy
Photographs © Louie Palu

 Front Towards Enemy
Included is a cardboard slipcase with four components: an accordion fold image set, large almost 9x12" soldier portrait cards, a newsprint publication, and a staple-bound zine.
Front Towards Enemy
A diagram and instructions for a pop-up exhibition

Louie Palu, is a 2016-17 John Simon Guggenheim Foundation Fellow and a Harry Ransom Center Research Fellow in the Humanities at the University of Texas at Austin.

Louie is an award winning documentary photographer and filmmaker whose work has appeared in festivals, publications, exhibitions and collections internationally. He is the recipient of numerous awards including two Pulitzer Center on Crisis Reporting Grants, 2011-12 Bernard L Schwartz Fellowship with the New America Foundation and Milton Rogovin Fellowship at the University of Arizona. He is well known for his work which examines social political issues such as human rights, conflict and poverty. Read more Here 


MAGGIE STEBER : Half King Photo Series + The Leica Store San Francisco

from The Secret Garden of Lily LaPalma series
Photograph © Maggie Steber

from The Secret Garden of Lily LaPalma series
Photograph © Maggie Steber

 from The Secret Garden of Lily LaPalma series
Photograph © Maggie Steber

 from The Secret Garden of Lily LaPalma series
Photograph © Maggie Steber

at The Half King
Maggie Steber is presenting "The Secret Garden of Lily LaPalma", a series of photographs that mark a departure from her previous documentary work. Her exhibit opens at The Half King with a talk by the Steber, led by Anna Van Lenten, HKPS Curator, Tuesday, Mar. 20, 2018, 7:00 PM

As Maggie writes, this project is "about the dark side of me that I have, as of late, begun to re-explore. Without meaning to make them so, these photographs reveal my fears and private memories, wrapped up, not always neatly, in my life. The photographs are done spur of the moment. I go from the gut; and the imperfection of these spontaneous moments reflects what I’m after.​"

"I have let loose a part of me, joyously rebelling against the tyranny of the documentary photography that has described me for decades and defined how I am perceived as an artist. I call on all the things I loved growing up: mysteries, grade B horror films, science fiction, the noir, and sensuous forbidden ideas. I watched Hitchcock, Tarentino, Godard, Fellini, Bunuel and Antonioni, read Shakespeare and Eduardo Galeano and Dante’s Inferno, anything that smacked of the surreal, mystery, intrigue, beauty, danger, and outer space. All these ideas have convened and landed me here in the Secret Garden of Lily LaPalma.​"
 +  +  +

Maggie Steber is an internationally known documentary photographer, educator and photo editor whose work has appeared in major magazines, newspapers and book anthologies as well as national and international exhibitions. She has worked in 67 countries specializing in telling the stories of underrepresented people. Best known for her photo essays in National Geographic magazine and her humanistic documentation of Haiti, she published Dancing on Fire: Photographs from Haiti with Aperture. Steber has worked as a picture editor for Associated Press, a contract photographer for Newsweek, and as the Director of Photography at The Miami Herald.

Her work is included in the Library of Congress. Grants and numerous awards include: a 2017-2018 Guggenheim, a 2007 Knight Foundation grant to design prototype for New American Newspaper and website, and a 2001 Pulitzer Prize for Miami Herald coverage of Elian Gonzalez story, first prize Spot News World Press Photo Foundation for Haiti, the Leica Medal of Excellence, first prize Magazine News/Documentary NPPA PICTURES OF THE YEAR and recipient of grants from Alicia Patterson Foundation and Ernst Haas Photography.

Maggie Steber / The Secret Garden of Lily LaPalma
Exhibit Opening and Talk
Tuesday, Mar. 20, 2018, 7:00 PM
Talk led by Anna Van Lenten, HKPS Curator

The Half King Photo Series
505 West 23rd Street, NYC

* Text courtesy of The Half King 

at The Leica Store
San Francisco
through April 7, 2018